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The Monthly Publication of The Curtis Institute of Music 





rlttenhouse square 
Philadelphia, Pennsylvania 

Second Edition 
Printed in November, 1929 


Vol. I October 15, 1929 No. 1 



Editorial Comment Hi 

The Institute in Retrospect By Mary Louise Curtis Bok v 

A Survey of the Past Year By Josef Hofmdnn vii 

Chamber Music in the Museum By Louis Bailly ix 

New Members of the Faculty xiii 

Faculty Activities xv 

Student Groups Who Worked as They Vacationed xviii 

Student Activities xxviii 

Creating the Institute Library By Dr. W. N. C. Carlton xxxiii 

Phonograph Records xxxvi 

Notes on New Books : 

Franz Schubert. By Newman Flower xxxvii 

Evenings in the Orchestra. By Hector Berlioz XXXviii 

J. S. Bach. By C. S. Terry xxxviii 

Beethoven the Creator. By Romain Rolland xxxix 

Cyclopedic Survey of Chamber Music xxxix 

Music Calendar xxxx 


Portrait of the Director ii 

Emil Mlynarski xii 

Madame Sembrich and Her Curtis Pupils xviii 

The Camden Piano Group xix 

Efrem Zimbalist and His New London Students xx 

Harriet Van Emden and Students in New London xxi 

The Lake Chautauqua Group with Horatio Connell xxii 

Students of Mme. Luboshutz in California xxiii 

Harry Kaufman with his New London Group xxiv 

Rosario Scalero in Italy with his Pupils xxvi 

Carlos Salzedo and his Summer Students xxvii 

The Swastika Quartet xxix 

Permission is granted to reproduce parts of this magazine provided due acknowledgment is made to Overtones 
Copyright 1929 by The Curtis Institute of Music. Printed in the United States of America 




Editorial Comment 

ustom demands that a publication accompany its debut with 
some explanation of its reason for being and an indication of 
its aim and direction. We can only yield to such precedent 
and devote this brief space to a few words of editorial intro- 
duction. During the past season The Curtis Institute of Music amply 
demonstrated its "coming of age" with a mature and complex organization 
at last smoothly perfected. Its activities are many and command attention 
everywhere in the world of music. The time therefore is ripe for presenting 
at regular intervals during the year some account of these activities, and at 
the same time preserving an enduring record of our progress and achieve- 
ments. Furthermore, this modest publication may succeed perhaps in 
bringing the busy students and faculty members of the Institute into more 
close understanding and knowledge of each other. An account will be 
made of the professional activities of both teachers and students, in the 
many concerts given in Casimir Hall, in Philadelphia, in other communi- 
ties, and over the radio. To make this plan completely successful, the 
cooperation of the entire school is urged in the reporting at once of all 
activities already completed and planned. In addition, it is earnestly 
hoped that the faculty members will generously contribute articles or 
interviews by means of which their background, knowledge, and interests 
may be made accessible to a wider audience. In this hope there is wisdom 
and foresight. Too often in the past, the personalities, ideas, and practices 


of great musical artists have been left for dissemination only through the 
medium of incompetent contemporaries bent on exploitation. Artists 
in other fields have been fortunate enough to record much of themselves 
in print, for their contemporaries and for posterity, but in music the 
physical demands of performance and instruction are ordinarily so great 
that but few have been able to express themselves in writing. How 
eagerly we treasure the Notebooks of Leonardo da Vinci ! How willingly 
we would have more of the direct utterances or writings of the Liszts, 
Rubensteins, Malibrans, De Reszkes, Paganinis, who seem already dim or 
distorted in the shrouds of uncertain or inconsistent tradition and rumor. 
The opportunity to include in the pages of ensuing numbers of Overtones 
the reminiscences or observations of so distinguished a line of contemporary 
artists as Auer, Sembrich, Hofmann, De Gogorza, Zimbalist, Bailly, 
Salmond, Farnam, Salzedo, Scalero, Mlynarski, and the like seems to 
us not only a unique but rather an imperative one, whose realization may 
gradually, with the passing of time, be achieved. Such, then, is 

the two-fold aim of this publication ! 

Elsewhere in this issue reference is made to the expressed purpose of 
The Curtis Institute. Simply as these words are expressed, their 
significance is profound and provocative. In this age of mass production 
and mechanized education, it is all the more remarkable, not as a remote 
ideal but actually as a reality. In the Renaissance days, when individuality 
counted and great artists grew to towering heights, the aspiring student 
took himself to a "Master" of his choosing with whom he humbly 
worked for years as an apprentice, mastering himself his teacher's skill 
and absorbing the tradition of the past on which he expected to build. 
The same was true, in the world of music, with Bach, Haydn, Mozart, 
Beethoven, Brahms — all the great figures! In an age when one might 
easily despair of the survival of such a method of learning, we have in 
the Institute not only a continuation of this great tradition of art study, 
but also the creation of an unequalled opportunity for hearing and studying 
music of all kinds, and performing it before a discriminating and discerning 
audience of students and teachers — and all under the most favorable 
physical conditions ever made possible in any educational institution 
anywhere. It is an ideal which must not suffer abuse! 


The Institute tn Retrospect 

REETINGS to The Curtis Institute family of 1929-30 ! To faculty 
members, students, and staff workers — and to the newest arrival 
in our midst — Overtones! 

It may interest the students to know that The Curtis 
Institute of Music is entering upon its sixth year, having been created, 
endowed, and incorporated in 1924. 

John Grolle, the first Director of The Curtis Institute, and a man of 
high artistic ideals, laid the foundations of our school. Present members 
of our faculty who have been with us from the beginning are Mr. Hofmann, 
Madame Vengerova, Mr. Saperton, Mr. Connell, Mr. Scalero, Miss 
Drummond, Dr. Beck, and, thanks to Mr. Hofmann, Madame Sembrich. 
Carl Flesch was in charge of the Violin Department for the first four 
years and resigned then to return to Europe, where he maintains his home. 
Mr. Flesch built exceedingly well in his department and his leaving was 
regretted by all. Louis Svecenski was another of our pioneers, who 
taught viola and ensemble until his death in 1926. 

Mr. Grolle resigned his post at the Institute and resumed his position 
as Head Worker of The Settlement Music School, of Philadelphia. 



Mr. William E. Walter succeeded him as Director of The Curtis Institute 
and gave two years of a good business administration, at the end of which 
time he resigned to take the position of Manager of the St. Louis Orchestra. 

Mr. Josef Hofmann became Director in 1927, and having been Head 
of the Piano Department and piano teacher from the beginning, he was 
no stranger to the problems of the school and brought knowledge and 
vision to his task. He at once inaugurated the policy of free tuition and 
granted the use of Steinway grand pianos, string and wind instruments 
rent free to pupils in their homes; public appearances, during the period 
of their studies, to those students whose progress warrants it; and financial 
help in embarking upon a public career to those finished students who 
need and merit such assistance. 

The artistic growth and prominence of the school under his hands is 
well known to all of us. It is Mr. Hofmann who in very few words so 
beautifully expressed the purpose of The Curtis Institute : To hand down 
through contemporary masters the great traditions of the past. To teach 
students to build on this heritage for the future. 

May the "Overtones" be more than echoes! 



A Survey of the Past Year 

he year 1928-29 was an exceptionally busy one, the student 
body numbering 260. It is interesting to note that of the 
students fifty-nine per cent were men, while in race forty per 
cent were Hebrews, and in nationality eight per cent were 
foreigners. Within a short life — only five years — The Curtis Institute 
has harbored students from England, Canada, France, Germany, Russia, 
Hungary, Czecho-Slovakia, Latvia, Holland, Belgium, Denmark, Italy, 
Cuba, Mexico, Australia, and Palestine. During the school year 1929-30, 
Hawaii and Porto Rico will also be represented. 

It is gratifying to observe that students are now coming to us for 
their musical education even from abroad, rather than flocking, as in 
the past, to the musical centres of Europe. This, naturally, is due to the 
presence of the great masters of the art of music who have come to the 
United States and who are today in our midst and collaborating with us. 
Students the world over follow the masters and applications for enrollment 
at The Curtis Institute grow daily. 

However, adhering strictly to our motto, "Quality versus Quantity", 
we accept each year but a limited number of newcomers, as none may 
be enrolled until after a corresponding number of students are graduated 
or dropped. Therefore, those amongst the dismissed should realize that 
the Institute's decision regarding them does not necessarily amount to a 
negative verdict from the absolute point of view of quality, because our 
policy of educating a limited but select student body makes it imperative 
to give preference to those who possess the greater musical and artistic 
possibilities. c^o 

I wish further to point out that the Institute, because of its affiliation 
with The Philadelphia Grand Opera Company, has made it possible for 
our vocal students to appear during the period of their studies in regular 
opera performances, thus gaining the required experience for their future 
professional careers. Besides the opera, there will be twenty-five public 
concerts during the present school year similar to those given last year 
in schools, colleges, and music clubs. Instead of ten radio broadcasts, as 
were made last year, the Institute has arranged for twenty performances 
of one-half hour each during the school year 1929-30. Consequently, in 



addition to their studies at the Institute, a large number of our artist- 
students will be kept rather busy performing as soloists, and others will 
have the task of helping our Chamber Music groups and The Curtis 
Orchestra to maintain and develop further their high artistic standards. 

How well some of our students are doing, the following will elucidate : 
Shura Cherkassky is making a sensation in England and South Africa. 
Henri Temianka, after his most successful introductory appearances 
abroad, has been engaged for a European tour of fifteen concerts during 
the coming season. Max Goberman and John Richardson, violinists, 
Sheppard Lehnhoff, viola player, and Melvin Hoffman, trombone player, 
have been engaged by the Philadelphia Orchestra. Stellario Giacobbe, 
viola player, has been engaged by the St. Louis Orchestra. Miss Louise 
Walker will teach violin at the de Pauw University of Green Castle, 
Indiana. Three organ students have accepted positions as follows: 
Carl Weinrich, organist and choirmaster at St. Paul's Presbyterian Church, 
Philadelphia; Alexander McCurdy, already organist of the Second Pres- 
byterian Church, Philadelphia, Director of the Trenton Choral Society; 
and Robert Cato, organist and choirmaster of the Market Street Presby- 
terian Church, Harrisburg. Theodore Walstrum will function as accom- 
panist with the Civic Opera Company, of Philadelphia. From our Voice 
Department four pupils have accepted positions as follows: Selma 
Amansky, engaged as soloist in Keneseth Israel Temple, Philadelphia; 
Benjamin de Loache, soloist, Bryn Mawr Presbyterian Church; Conrad 
Thibault, soloist, Moorestown Presbyterian Church; and Ralph Jusko, 
baritone, with the Civic Opera. 

I also wish to mention that Mr. Richard Copley, of New York City, 
the former associate of the Wolfsohn Musical Bureau, has been appointed 
the official concert manager of The Curtis Institute of Music. 

Concluding my survey of the past, and hopefully looking ahead to 
the future, I wish everybody a happy and a successful school year. May 
you all strive for the best and highest in the field of musical expression 
for your own sake as well as for that of our Institute. 


I viii 1 

Chamber Music In the Museum 

Editor's Note : The following article is reprinted with the permission of 
"The Pennsylvania Museum Bulletin', where it appeared in the April, 
igzg number, at the end of the first year s series of six concerts, as an 
attempt by Monsieur Bailly to show the purpose of The Curtis Institute 
in these concerts. With an attendance of over thirty thousand people, the 
series was received with great enthusiasm by the public, so that a second 
series has been arranged to follow this year, and the opening concert is 
announced to take place on November 10. 

HE ancient greeks with an acuteness of artistic perception 
and a poetic imagination peculiar to themselves, conceived 
the nine Muses, patrons of the Arts, as bound together by the 
close and indissoluble relationship of sisterhood, and carried 
out their beautiful conception in practical form by adorning their sanc- 
tuaries, whether temples or open air, with works of art and by celebrating 
their festivals with music, dancing, and dramatic representations. 

Following the Dark Ages, a similar idea reappeared in full flower, 
during the Renaissance, notably in the courts of the Popes at Rome, 
of the Medici in Florence, and to a certain extent under the Francises in 
France, and similarly under Louis XIV, but with a very important dif- 
ference, because the element of democratic participation in the enjoyment 
of the Arts had largely disappeared, and art had become the prerogative 
of the rich and powerful. There was, fortunately, one exception to this 
rule, and that was the Roman Catholic Church, which, realizing the 
great psychological truth of the old Greek idea in respect to the emotional 
and intellectual stimulus of an association of art and religion, ornamented 
its churches and cathedrals with the works of the greatest masters and 
enriched its services with noble music, thus furnishing for the mass of 
the people an artistic and emotional outlet and intake denied them 

Following the destruction of the old regimes and the birth of the 
spirit of "Liberty, Equality, and Fraternity" — there gradually emerged 



from the social chaos a new spirit regarding art as related to the public 
mind and well -being. Glimmerings of a new idea of sharing the treasures 
of art and culture with members of society less favored than the rich and 
powerful began to be visible. Such movements as the University extension 
in England began to flourish and in France, l'Universite Populaire, in 
which I was privileged to do my share in collaboration with my friend 
Gustave Charpentier, began a distinct propaganda to bring the best in 
art to the people. c ^ 3 

At the same time the idea of the interrelationship of the Arts was 
receiving a new impetus through the work of Richard Wagner in Germany, 
while in France an unique result was achieved by the so-called Impressionist 
School of painters who focused their attention upon a study of light and 
light effects or atmosphere as dependent upon the vibration of colour 
waves. It may easily be seen that there is no long step between colour 
and sound wave vibration — and the relationship of the pictorial arts 
and music becomes evident at once. A landscape of Corot may easily be 
correlated with a quartet of Schubert for colour, vivacity, and charm — a 
canvas by Goya, with the strength, solidity, and virility of Brahms — and 
the nebulous beauty of the master impressionist Monet with the Nudges 
or Jdrdin sous Id Pluic of Debussy. 

In the United States the successful practical evolution of democratic 
ideals, an increased stability of government and social structure have 
resulted in an exceptional growth of wealth, which has in many instances 
blossomed into a desire to acquire, if not yet able to produce, the finest 
examples of art, be they sculpture, painting, architecture, music or the 
drama. Combined with this desire to acquire has also appeared an altru- 
istic spirit singularly American — a sense of responsibility to others, of 
stewardship and a purpose to share with others the noble expressions of 
art which the possessors of wealth have been able to procure for their 
own gratification. It may be said, I believe, with truth, that in no other 
country at no period of history whatever, have any people, in so short a 
time, had offered to them such magnificent opportunities for artistic 
enjoyment and cultural education as have the people of the United States 
today ! Thus it was but natural that two such institutions as the Pennsyl- 
vania Museum on Fairmount and The Curtis Institute of Music should 



cooperate in an expression of mutual helpfulness to the public, such as 
the series of concerts of Chamber Music presented at the Museum this 
year. Probably no form of musical expression is better fitted to make the 
proper emotional appeal, and to produce a sympathetic reaction for the 
contemplation and appreciation of pictorial art than is Chamber Music. 
Beauty of form with intellectual content and charm of expression with a 
mathematical exactness are essentials of its composition, while in per- 
formance, it is not restricted to the expression of personality, which 
naturally must colour solo performances, nor on the other hand does it 
partake of the distracting and overpowering quality of large orchestral 
works. ^ 

It has therefore been the hope of the donor of the Chamber Music 
concerts that in collaboration with the magnificent architectural environ- 
ment which was their setting they might create an atmosphere that would 
make for a clearer and keener appreciation of the works of art collected 
in the Museum, at the same time familiarizing a large group of auditors 
with works of the greatest beauty in music, not ordinarily heard except 
in expensive concerts. It is also hoped that by offering freely what is 
really noble and immortal in contrast to the vulgar and ephemeral, the 
taste of the public may be directed to a desire for the fine things in contra- 
distinction to the ignoble. There is also the added idea that the results 
of the expenditure of effort, time, and money in training the finest flower 
of our youth in the expression of their unusual gifts for music, should 
not be reserved for private or commercial exploitation solely, but that 
The Curtis Institute of Music wishes to share its results with the public 
in a desire to kindle a new flame where none existed before and to strengthen 
that which may be already burning with a desire for the noblest in music. 
It will be our purpose this winter to offer programs which will carry out 
the policy of presenting works of the highest standard, including works of 
Beethoven, Haydn, Mozart, Schumann, Brahms, Tschaikowsky, Cesar 
Franck, Dvorak, Saint-Saens, Smetana, Malipiero, et cetera. 





EMIL MLYNARSKI, Head of Departments of Orchestra and Opera 

xii 1 

New Members of the Faculty 

O the newest arrivals in the faculty and administrative 
group of the Institute we extend our most cordial welcome ! 
Probably of greatest interest to the school in general is Emil 
Mlynarski, new Head of the Opera and Orchestra Departments 
and Conductor of the Curtis Orchestra, and long recognized as among the 
foremost conductors of opera and symphony orchestras in Europe. Mr. 
Mlynarski was born in Poland and received his early musical training as a 
violinist under Professor Leopold Auer in Petrograd. He made his debut 
as a violinist in his native land and appeared for the first time in London 
in 1889. Four years later his genius for conducting was recognized in 
his appointment as conductor of the Warsaw Imperial Orchestra. 

The following year he became conductor of the Odessa Music Society, 
which post he retained for four years. In 1899 he returned to Warsaw as 
chief conductor of the Opera and two years later founded the Warsaw 
Philharmonic Society which he conducted for several years. During the 
same period he was director of the Warsaw Conservatory of Music. He 
accepted the position as conductor of the London Symphony in 1907, and 
three years later became director of the Glasgow Orchestral Union and 
Conductor of the Scottish Orchestra, appearing for six years in London, 
Glasgow, and Edinburgh. He returned to the Warsaw Philharmonic in 
1914, and since the war has been director of the Warsaw Opera and 
Conservatory of Music. 

His compositions include a Concerto for Violin which received the 
Paderewski prize in Leipzig, two symphonies, and several operas. His 
engagement at The Curtis Institute of Music and as Conductor of the 
Philadelphia Grand Opera Company marks his first visit to the United 
States. Nevertheless, The Curtis Institute will not be entirely new to him, 
for curiously enough, he will meet here not only his former teacher, 
Leopold Auer, but his former pupil, Madame Luboshutz, and Madame 
Sembrich, with whom he played, when 18 years old, at a concert in 
Petrograd before the Empress of Russia. Paul Kochanski was also one of 
Emil Mlynarski's pupils, and Dr. Rodzinski was, if not literally a pupil, 

f ^ 1 


e s 

certainly a disciple and follower of the former Director of the Warsaw 

In the violin department a new arrival is Vera Fonaroff, who is an 
aunt of Abram Chasins. Madame Fonaroff began the study of the violin 
at the age of seven in New York City, and two years later she appeared as 
soloist at a Sunday concert with the Metropolitan Opera House Orchestra. 
After making frequent appearances as a child she was sent to England and 
studied with Dr. Mark Brodsky at the Royal Manchester College of 
Music, where, five years later, she was awarded a Diploma with Distinc- 
tion as artiste and teacher. Later, she studied with Franz Kneisel. 

In 1908 Madame Fonaroff was heard again in concerts in America. 
She then became a member of the Olive Mead Quartet, making several 
transcontinental tours, and appeared in a series of sonata recitals with 
Richard Epstein and Germaine Schnitzer. We are glad to have Madame 
Fonaroff with us here. 

Another addition to our community is Geoffrey Harris, a graduate of 
Oxford University and formerly of New York City. Mr. Harris will 
serve as Assistant to Mr. Hofmann in receiving students who may wish 
consultations. He will also supervise the radio broadcasting of the 
Institute which will be somewhat amplified this year. 

In the Academic Department we have M. Rene Daudon instructing 
in French and Martha Turk instructing in German. M. Daudon was 
educated in the Lycee Henri IV in Paris, the Real School in Tiflis, 
and the Hoch Technische Schule in Frankfurt. He has spent much of his 
life in Russia and during the war had much interesting experience in 
Russia and Algeria in both the French Army and Marine. Miss Turk was 
born in Berlin, Germany, and received her education there. She is a 
Certified Municipal School Teacher of the city of Berlin. 

I xiv 1 

Faculty Activities 

n the department of voice Madame Sembrich was as 
usual busy with her group of students at Lake George, pre- 
paring opera repertoire and songs for the new season. Harriet 
van Emden, in New London, Conn., ended her summer of 
teaching with a benefit recital for Pequot Chapel in that community. 
Horatio Connell, busy directing a large number of student enterprises at 
Lake Chautauqua, nevertheless found time to sing himself once during 
the season with the Chautauqua Symphony Orchestra. Mr. de Gogorza, 
who did some teaching during his stay in Paris, was unfortunately ill 
during a part of his vacation. Max Pons, accompanist and coaching 
instructor, supplemented a wedding trip (if one may reveal this news) by 
travel in Holland, France, and Germany, where he made a wide study of 
scores, especially the works of Richard Strauss. Both Mr. Pons and 
Sylvan Levin, in addition to their coaching and accompanying in the 
Institute, will serve as Assistant Conductors, directing choruses and 
accompanying, with The Philadelphia Grand Opera Co. 

Amid the press of his duties as Director, Mr. Hofmann stepped aside 
for a moment into his role of pianist this summer in Camden, Maine, 
at an unusual occasion where, under the auspices of Mr. and Mrs. Bok, 
prizes for best-kept gardens were awarded to various residents of the com- 
munity, and where also the Governor of Maine participated in the cere- 

f xv 1 


monies with an interesting address. Mr. Hofmann will make an extended 
tour this season, going as far as the Pacific coast. 

Among others in the Department of Pianoforte active this summer 
were Abram Chasins who spent much of his time in revision of his 
Concerto for Piano, with which he will go on tour this season. He also 
put finishing touches to a number of small pieces for violin and piano 
which are soon to be published by Carl Fischer. Claire Svecenski passed 
the entire summer in Barcelona, Spain, where she heard much of the 
excellent music which attended the Barcelona Exposition. 

Lynnwood Farnam, Head of the Department of Organ, did not teach 
this summer, but passed his vacation in Canada. Here, however, he 
appeared in an organ recital in Saskatoon, in his native province of 
Saskatchewan. A later recital was played in Brockton, Mass. A series 
of recitals planned for this winter in New York will be of great importance, 
since they will include seldom heard works by Bach and his Forerunners. 
Mr. Farnam also plans to make an extensive tour as far as the Pacific coast. 

In the Department of Violin, Efrem Zimbalist contented himself 
with a quiet summer, spent largely in teaching and in adding to his long 
list of pieces transcribed for the violin. Lea Luboshutz, in addition to 
working with her pupils, gave a concert herself, inaugurating a series of 
Wednesday morning musicales in the La Ribera Hotel at Carmel. We 
cannot resist mentioning that in addition to providing her usual stimulating 
and high example of what an artist should be, Madame Luboshutz sur- 
prised and impressed her pupils by her virtuosity in an entirely different 
field — that of housekeeping. Carl Van Vechten once wrote an eloquent 
essay demonstrating that opera singers are surprisingly good cooks; 
Madame Luboshutz surpasses opera singers, obviously, for, dispensing 
with maids, she herself managed the domestic details of her home this 
summer. It was a profitable lesson for her students. 

Felix Salmond left Blue Hill, Maine, during the summer to give 'cello 
recitals in Gloucester, Mass., Bar Harbor, and Cornell University, Ithaca, 

tfxvi 1 


N. Y. On October 24 he will play in New York at the first concert of 
the Beethoven Association season. 

In addition to Albert Meiff, Instructor in Violin, Leonid Bolotine, a 
pupil of Efrem Zimbalist and formerly assistant concert-master of the 
San Francisco Orchestra, has been named Instructor in the Institute. Max 
Aronoff will instruct in viola students who are majoring in Chamber 
Music and Orchestra Playing, while Stephen Deak will instruct in 'cello. 
Mr. Deak has completed a book on 'cello playing which will have interest 
for Curtis Institute students; the pictures which illustrate it are cuts of 
Mr. Salmond, and there is also a brief preface by Mr. Salmond. 

In August Carlos Salzedo, Head of the Department of Harp, completed 
a work in one movement, entitled Prcambule ct Jeux, scored for harp, 
flute, oboe, bassoon, horn, string quartet, and double bass. This composi- 
tion was commissioned by Elizabeth Sprague Coolidge and is dedicated 
to her. Its first performance will be in Paris on October 28, when Lily Las- 
kine, Leon Goossens, and the Pro Arte Quartet will assist, with Georges 
Barrere conducting. Mr. Salzedo has also been appointed one of the six 
composers serving as the Committee on Interpretation for New York's 
Conductorless Orchestra. In the reorganization of the American section 
of the International Society for Contemporary Music, Mr. Salzedo has 
been made Vice-President. 

Rosario Scalero passed his summer with teaching and writing. Ernest 
Zechiel, also of the Department of Theory and Composition, has com- 
pleted the score of a quartet for strings. Madame Miquelle, instructor in 
solfege, passed the summer in France visiting her father, Georges Longy, 
retired first oboeist of the Boston Symphony Orchestra. Mile. Soffray is 
unfortunately ill, and her solfege work is being taken over temporarily 
by Eleanor Meredith, a pupil of Mr. Scalero. 

[ xvii 1 

Student Groups Who Worked as 
They Vacationed 

he CURTIS institute of MUSIC like most academic and pro- 
fessional schools, observed a vacation during the summer 
months, but for a large proportion of its students, music study 
was not interrupted, nor was it carried on in a formal summer 
school. In harmony with its many new and original policies, the Institute 
supported a plan practically unique in the educational world whereby its 
most advanced students were enabled to continue study with their teachers 
in whatever vacation spot the several faculty members chose for their 
summer stay. As a result of this happy plan, busy Curtis groups were to 
be found seriously continuing the formal work of the academic year, 
under the personal guidance of their distinguished teachers, amid congenial 
and unusual surroundings in regions as widely dissimilar as California, 
Maine, Connecticut, New York, northern Italy, and Budapest. 



As in several summers before this, Madame Marcella Sembrich 
retained a number of students at her lovely estate on Lake George. These 
included Henrietta Horle, Edna Hochstetter, Charlotte Simons, Josephine 
Jirak, Natalie Bodanskaya, and Genia Mirska. In addition to several 
language teachers, among them Minna Saumelle, there was also Sylvan 
Levin, accompanist and coach, who presided in a charming studio especially 
erected for him in the incredibly short period of about three weeks. Student 
recitals were given in Glens Falls, Bolton, and Lake George by Miles. 
Mirska, Horle, Hochstetter, and Simons, while Miles. Jirak, Simons, and 
Bodanskaya participated in a musicale given in Madame Sembrich 's 
home. A number of Curtis Institute members passed through Bolton 
while travelling in the vacation, and all agree that the beautiful grounds 
of Madame Sembrich's "Bay View" estate provide an unforgettable and 
enviable background for a summer's study. 

In Camden, Maine, under the guidance of Josef Hofmann, were 
Joseph Levine and Abram Chasins. William Harms was also a member 


ftxix 1 


of the Camden group, working under Mr. Chasins. An unusual students' 
recital was the benefit concert given in the beautiful Town Hall in nearby 
Rockport by Mr. Harms and Tibor de Machula — who joined the group 
later in the summer — with Joseph Levine assisting. 

New London, Connecticut, proved the scene of no less than three 
student groups. Here Efrem Zimbalist, coming over weekly from nearby 
Fisher's Island, instructed such violin students as Paul Gershman, Felix 
Slatkin, Iso Briselli, and Lois zu Putlitz, while Harriet van Emden worked 
with vocal students including Selma Amansky, Eleanor Lewis, Paceli 
Diamond, and Frances Sheridan. Finally, Mr. Harry Kaufman provided 
intensive work in accompanying for Joseph RubanofT, Theodore Saidenberg, 
Elizabeth Westmoreland, and, for the first part of the season, Sylvan Levin. 


[XX J 



One of the busiest of the groups was that in Chautauqua, New York, 
where Horatio Connell had with him Rose Bampton, Helen Jepson, 
Albert Mahler, Clarence Reinert, Daniel Healy, Florence Irons, Arthur 
Holmgren, and Alfred De Long, who has entered the Institute as a new 
student. There were many recitals and operatic performances in which 
our students participated. In the new Norton Hall Mr. Healy and Miss 
Bampton shared one recital, while Miles. Jepson and Irons and Messrs. 
Mahler and Reinert sang on separate occasions with the Chautauqua 
Symphony Orchestra with Albert Stoessel of New York conducting. In 
the operatic performances which were frequent during the summer, Miss 
Bampton and Mr. Holmgren sang roles in both Faust and Martini, 
Miss Jepson sang the lead in The Secret of Suzanne, in which Mr. Mahler 
participated also, as well as in The May Queen, while Miss Irons sang 
in Hansel and Qretel. These operas were also conducted by Mr. Stoessel, 

ttxxi 1 



in the new $150,000 opera house. Two interesting performances of 
ensemble singing consisted of the famous Fjgolctto quartet and the sextet 
from Lucia, sung with orchestra by Mr. Connell's students, and again, 
on the occasion of the Centennial Celebration of the Founders of Chau- 
tauqua, favorite old melodies sung by a quartet before a distinguished 



E S 

audience which included among others Mrs. Thomas Edison and Mrs. 
Henry Ford. Theodore Walstrum, who has been graduated from the 
Institute to become official accompanist of The Philadelphia Civic Opera 
Co., was the accompanist for the Connell pupils during this summer work. 

Across the continent, in Carmel, California, the group of violin 
students who worked under Lea Luboshutz consisted of Ethel Stark, Judith 
Poska, and Celia and Robert Gomberg, with Florence Morseman as 
accompanist. A student's recital was given during which there was per- 
formed not only the Bach Double Concerto and Chausson's Poemc but also 



a novelty, a sonata for violin and piano, by Thomas Vincent Cator, 
written at the request of Mme. Luboshutz and dedicated to her. The 
sonata was given its first public performance by Judith Poska and the 
composer. The bathing at exotic Carmel-by-the-sea must have been 
enticing, for among the photographs we have of the group is one exhibiting 
enviable expanses of this season's fashionable sun-tan — we wish we had 


I xxiv 1 


space for reproducing it here! Both Miss McCallip and Alexander 
McCurdy visited the Carmel group and took moving-pictures. 

For the major part of the summer Felix Salmond remained in Blue 
Hill, Maine, teaching Tibor de Machula and Katherine Conant, with 
Yvonne Krinsky as accompanist. In Seal Harbor, also in Maine, Carlos 
Salzedo had with him as students Reva Reatha, Victoria Murdock, Flora 
Greenwood, Edna Phillips, and Mary Griffith, a new student in the 

In New York Leopold Auer continued the instruction of Oscar Shumsky 
and George Pepper, while David Saperton gave a course of piano instruc- 
tion to a group made up of Marga Wustner, Irene Peckham, Lillian 
Batkin, Freda Pastor, Tosca Tolces, Carl Goldner, and Ruth Jewett. 

Edwin Bachman chose Budapest for his summer's stay, taking with 
him Lily Matison and Ladislaus Steinhardt. 

Perhaps the most picturesque spot of all was the valley, high up in 
the Italian Alps, almost under the shadow of the colorful Monte Rosa, 
where Rosario Scalero has his summer villa. It is in this serene spot, 
Gressoney, that the late Queen-Mother Margherita of Italy built her 
famous Castello Savoia, where she entertained the poet Carducci, and 
where the youthful present King of Italy spent his holidays. From our 
own experience we know how magnificent are the views in this high 
valley and how many are the opportunities for walks and mountain- 
climbing, which are always important parts of the daily program of the 
students working with Mr. Scalero in the summer. This year the group 
in Gressoney was made up of Gian Carlo Menotti, Sam Barber, Carl 
Bricken, Jean Behrend, and Eleanor Meredith. Between creating fugues, 
sonatas, and quartets, these students had the rare pleasure of breathing in 
Alpine air and gazing upon snow-capped peaks. 

tfxxv 1 



Sam Barber, who last year won the Bearnes Prize at Columbia Univer- 
sity for his Sonata for Violin and Piano, which was performed by Gama 
Gilbert and him before the Beethoven Association, completed the first 
half of a Concerto for Piano and Orchestra. 

In addition, Henri Temianka, Jay Savitt, and Leonard Cassini were 
enabled to spend their summer in Europe, where Benjamin Grobani also 
travelled and studied for a period with his teacher, Emilio de Gogorza, as 
did Agnes Davis. In Arden, Delaware, Louis Bailly maintained the 
Swastika Quartet, whose activities are described elsewhere in this issue, 

I xxvi 1 


E § 


while in California Dr. Rodzinski had Louis Wyner with him as a student 
in conducting. 

In all it was a summer of marked activity and variety, and, with the 
exception of the Salzedo group, an opportunity for study made possible 
only by the financial support of the Institute. 


xxvii \ 

Student Activities 

HE SWASTIKA QUARTET, in addition to study with Louis Bailly 
at his home in Haverford during the first and last weeks of the 
summer, sojourned for ten weeks in Arden, Delaware, where 
the quartet, made up of Gama Gilbert, Benjamin Sharlip, 
Sheppard Lehnhoff, and Orlando Cole, aroused great interest in their 
Sunday evening concerts in the Guild Hall. The first program of the series 
proved to be an especially unusual one, for in addition to a Beethoven 
Quartet and two Indian Sketches by Griffis, it included a group of four 
compositions arranged for string quartet by each of the Swastika mem- 
bers. These compositions were a Bach Prelude in B flat, arranged by 
Mr. Lehnhoff, an Irish folksong, Irish Maiden, arranged by Mr. 
Gilbert, Corelli's Praeludium, arranged by Mr. Cole, and Faure's Apres 
son rive, arranged for solo violin and quartet accompaniment by Mr. 
Sharlip. In performing the last composition, Mr. Sharlip played the 
solo part, while his place in the quartet was taken by Mr. Lucius 
Cole, the father of Orlando Cole and an accomplished violinist. Needless 
to add, these arrangements created a sensation and had to be repeated 
during the season at the request of the Arden colony. During the 
coming year there will be a change in the personnel of the Swastika 
Quartet, caused by the withdrawal of Sheppard Lehnhoff to join the ranks 
of the Philadelphia Orchestra — his place will be taken by Max Aronofl. 

Probably the most unusual summer experience was that of Louis 
Wyner, who lived in Hollywood and attended all the rehearsals of the 
Hollywood Bowl Orchestra, hearing also all the concerts, at which he 
took notes for Mr. Brite, the manager of the orchestra. Mr. Wyner spent 
much time with Dr. Rodzinski, studying scores and discussing new aspects 
of conducting. Through interviews with prominent musicians in Los 
Angeles and San Francisco, he became familiar with many problems con- 
cerning music along the Pacific coast. An interesting meeting was that 
with Mr. Gee, who made Wyner his guest at his Chinese Theatre in 
San Francisco, where opportunity was provided for hearing traditional 
Chinese music, playing on Chinese instruments, and seeing Chinese plays 
performed in their traditional manner. As a climax to this interesting 

| xxviii 1 



summer, an offer was made to Mr. Wyner by the American Light Opera 
Company to conduct the premiere of Bambina, a light opera, in Los 
Angeles and also on tour. His return to the Institute, however, made it 
necessary to refuse this opportunity. 

In Cuba, Jorge Bolet, who is being assisted in his music study by the 
Pro Arte Musicale society of Havana, gave a piano recital before the 
members of the society, especially arranged for July 4 as a gesture of 
appreciation of the Curtis Institute. A second concert was given later, 
on September 10, publicly, with much success, in the largest auditorium 
in Havana. c^> 

Another Curtis Institute representative in Cuba was Eugene Helmer 
who, on June 26, played the Rimsky-Korsakoff Concerto with the Havana 

IT xxix 1 


Philharmonic Orchestra, Pedro San Juan conducting, in the National 
Theatre. At this concert also, Mr. Helmer played a group of solo numbers, 
including several of Abram Chasins' Preludes, which created a widespread 
interest and were in great demand in Havana during the summer. Later, 
on August 15, Helmer played at the International Conservatory. 

Jack Abram, who spent his vacation in Texas, played twice in public 
during the summer, once in Houston and again in the Normal School at 
Nacogdoches. He also broadcast over radio station KPRC in Houston. 

Earl Fox, who spent his summer in Europe, appeared as official 
accompanist of an American mixed chorus which participated in the 
International Music Festival held for one week in August in Sefton Park, 
Liverpool, England. 

Miss Florence Frantz, a pupil of Madame Vengerova and a student 
in accompanying under Harry Kaufman, not only won the piano prize of 
the Matinee Musical Club of Philadelphia but also was the winner of a 
$500 first prize for Young Artists in the contest which was conducted in 
Boston in June by the National Federation of Music Clubs. On October 
20, she broadcast a program over WJZ, along with other winners of 
prizes. Philip Frank, a student newly accepted by Mr. Zimbalist, was 
another winner of a first prize for Young Artists in violin. 

An interesting "Curtis" concert was given in mid-Atlantic on the 
Homeric by Benjamin Grobani, with Claire Svecenski, of the Institute, as 
accompanist. Mr. Grobani, while in Europe, had the opportunity of 
attending the Wagner Festival in Munich as well as hearing much opera 
in the Theatre de la Monnaie in Brussels and the Milan La Scala. After 
his return to Philadelphia he broadcast a program of songs over station 
WIP. He was recently appointed Director of Music in the Philadelphia 

I xxx 1 


Temple Keneseth Israel, where he will have as assisting vocalists Albert 
Mahler, Selma Amansky, and Arthur Holmgren. 

On September 27, before returning to the Institute, Helen Jepson gave 
a song recital at Lake Mohawk, N. Y., in a series in which many nationally 
prominent artists also appeared. Charlotte Simons gave a recital in 
Chicago on July 14 before going to join the student group at Lake George. 

Ben DeLoache gave four song recitals in South Carolina during early 
September. These concerts took place in Camden, Winnsboro, Spartan- 
burg, and Winthrop College, Rock Hill. 

In early September Henry Siegel gave two successful violin recitals in 
Detroit, Michigan. 

Robert Levine broadcast over station KDKA in Pittsburgh, while 
Robert Bloom played oboe in a woodwind quintet which played weekly 
over the same station. 

In Milwaukee Ruth Perssion gave three violin recitals. 

Maurice Sharp occupied the desk of first flute in the American Phil- 
harmonic Orchestra which played twice weekly in the Stadium in Seattle, 
Washington. Among the conductors under whom Mr. Sharp played 
were Alfred Hertz and Henry Hadley. 

Alexander McCurdy has been appointed director of the Trenton 
Choral Art Society, in Trenton, N. J., where he plans to present English 
madrigals, modern works by Hoist and others, and much other interesting 
choral work. The date of his first concert will be November 19. Mr. 
McCurdy also continues with his position as Organist and Choir Director 
in the Philadelphia Second Presbyterian Church, where he will have as 
assisting vocalists Josephine Jirak and Herman Gatter. Among the choral 
works he is planning to perform soon is the Brahms T{equiem. An early 

f xxxi 1 


E § 

organ recital by Mr. McCurdy with the assistance of Herman Gatter will 
take place on October 22 before the Westerly Music Club of Westerly, R. I. 

Carl Weinrich has been named Organist and Choir Director of the 
St. Paul's Presbyterian Church of Philadelphia. Here he has inaugurated 
a series of Sunday evening recitals, at the first of which, on October 6, 
Lois zu Putlitz assisted, playing the Cesar Franck Sonata. 

Robert Cato is Organist and Choir Director of the Market Square 
Presbyterian Church in Harrisburg, Penna. During the summer, Mr. Cato 
played a recital of organ music in St. Paul's Cathedral in Detroit, Michigan. 
Helen Hewitt gave an organ recital in Manchester, Vermont, and, in 
Bennington, accompanied Max Polikoff of the Philadelphia Orchestra 
and Laura Littlefield of New York. 

Four Curtis Institute students have been accepted by Leopold Stokowski 
into the ranks of the Philadelphia Orchestra. These are John Richardson 
and Max Goberman, violins, Sheppard Lehnhoff, viola, and Melvin 
Hoffman, trombone. This now raises the total to eight Curtis Institute 
students who are regular members of the Philadelphia Orchestra. 

Oscar Shumsky, pupil of Leopold Auer, was soloist with the N. Y. 
Philharmonic-Symphony Orchestra, Ernest Schelling conducting, at its 
Children's Concert on October 12. 

| xxxii 1 

Creating the Institute Library 


in all its manifold and complex aspects. In every stage of the 
educational process through which students are prepared for life 
and their respective careers, training them to read and make 
effective use of books is a fundamental factor and requirement. By the 
very nature of their work, it has been said, educational institutions must 
build themselves around their libraries. 

As specialization is an outstanding characteristic of our contemporary 
civilization, specialized collections of books become a necessity for meeting 
the needs of every group practicing or preparing for a particular profession, 
vocation, calling, or art. An institution devoted to the teaching and study 
of Music must, therefore, like institutions and corporate associations of 
law, medicine, theology, engineering, banking, insurance, art, journalism, 
etc., have its own book collection, well chosen and immediately accessible. 

In selecting the printed books for the Library of The Curtis Institute 
of Music, the central purpose from the beginning has been to assemble 
(1) the basic works needed by members of the Faculty to supplement and 
reinforce their teaching activities, and (2) works of a general, adapted, or 
special character suited to the needs of the pupils in their stages of intel- 
lectual development and progress in the mastery of their art or instrument. 
The principles of selection have been rigidly qualitative and never quanti- 



tative, for the real worth and usefulness of a library rests in the permanently 
authoritative character of its volumes rather than in their total number. 
A collection of 5000 well chosen books is infinitely more useful, intrinsically 
valuable, and dignified than one of 50,000 volumes acquired at hap- 
hazard, in large, inclusive lots, or at the caprice of a dozen differing minds. 

The books now in the Library, and on the Lists from which future 
acquisitions will be made, have been selected only after thorough study 
of the standard bibliographical works on Music in English, German, 
French, and Italian, and the Catalogues of already established musical 
collections. Further, in hundreds of instances, they have been chosen only 
after personal examination of copies of the books themselves in such 
special collections as those in the New York Public Library, the Library of 
Congress, the British Museum, and the choice stocks of the great French 
and German booksellers who specialize in the literature of Music. 

A survey of the shelves will show that there is already available for 
use and study a very representative gathering of authoritative, well-tested 
general, historical, critical, and interpretative treatises in every principal 
division and sub-division of the widely ranging field of Music. Included 
among these are : 

1 . Encyclopedias, Dictionaries, Year Books. 

2. History of Music: Ancient, Medieval, and Modern. 

3. National Music: History and Collections. 

4. Musical Biography : Lives, Letters, Memoirs, Reminiscences, Auto- 
biographies, etc., together with critical and interpretative works relating 
to the great composers, etc. 

5. Music Criticism and Appreciation. 

6. Musical Instruments: Origins, History, and Construction. 

7. Theory and Art of Music : Acoustics; Aesthetics; Analysis; Composi- 
tion; Conducting; Counterpoint, Canon, and Fugue; Expression; Form; 
Harmony; Interpretation; Notation; the Orchestra and Orchestration; 
Psychology; Rhythm; Style. 

8. Art of Singing: the Voice; Voice Culture; Song Collections; 
Lives of Singers. 

f xxxiv 1 


9. Art of the Dance: History, Technique; Lives of famous Dancers. 

10. Opera: History; Criticism, 

li. Wagnehana. 

12. Church Music. 

13. Music and Musicians in Fiction. 

Small though the collection is at present, it is responding in a gratifying 
manner to the immediate demands being made upon it by the teaching 
staff and the varying requirements of the students in all departments. 
Current additions of useful books, both new and old, are being made to 
the fullest extent of the funds available for book purchases, and a number 
of valuable monographs have been presented by the Founder and other 
generous friends. 


The future growth and expansion of the Library will proceed in ac- 
cordance with the ideas and policies of the Governing Board and Direc- 
torate. There is no question in my mind but that, with the increasing 
importance of Philadelphia as a great centre of music study, interpretation, 
and practice as exemplified by its Symphony Orchestra and Grand Opera 
Companies, the Institute can render a noble service to a beautiful and 
incomparable art, and also to American culture, by the gradual formation 
of a splendid Library of Music and the Literature of Music in which 
original investigation and advanced study may be pursued by the leading 
scholars of this country and visiting experts from abroad. In this, as in all 
other permanently valuable and constructive human undertakings, only the 
best is ivorth while. 


Consulting Librarian. 



Phonograph Records 

T IS with great interest and pleasure that the school com- 
munity will learn that the library of phonograph records is 
now rapidly being built up. A first section of five hundred 
records has been received, which will be discussed in greater 
detail in the November issue of Overtones. Included in this section are 
album sets of complete operas like La Boheme, Bj.goletto, and Traviata, 
recorded in La Scala, Milan; as well as Die Walkiire, Parsifal, Tristan 
und Isolde, and others; complete orchestral performances of many sym- 
phonies, tone poems, overtures, and the like by such organizations as the 
Philadelphia, Boston, San Francisco, Chicago, Cleveland, New York 
Philharmonic, Hollywood Bowl, London, Royal Philharmonic, Concertge- 
bouw, and Berlin State Opera Orchestras; chamber music recorded by 
Cortot, Thibaud, and Casals, and by the Budapest, Musical Art, Inter- 
national, and Flonzaley String Quartets; vocal records by De Gogorza, 
Bori, Caruso, Chaliapin, Gigli, Galli-Curci, Jeritza, Martinelli, Ponselle, 
and Schipa; violin and 'cello records by Zimbalist, Elman, Heifetz, 
Kreisler, Ysaye, Casals, and Salmond; piano records by Hofmann, Bauer, 
Horowitz, Paderewski, Rachmaninoff, Landowska, Samuels, and others. 
Two rooms on the second floor of the Administration Building have been 
set aside, one for the record collection, the other for the Duo-Art piano 
and roll recordings. Teachers and students who may wish to listen to 
recordings are asked to make reservations in advance with Miss Hale. 

f xxxvi 1 

Notes on New Books 

Frederick Stokes Company. 

THIS newest biography of Schubert makes no attempt to evaluate his musical 
creations. Instead, the distinguished author of well-known works on Handel 
and Sullivan has filled his three-hundred page text with a fascinating and 
beautifully modulated account of the many — often remote — aspects of the composer's 
life and the nature of his friends and background. Here are printed for the first time 
extracts from the Luib correspondence of which nothing thus far has been contained 
in any life of Schubert in English, while only the merest fringe of it has been touched 
upon by two or three German biographers. These letters give a roundness and 
vividness to Schubert's personality where formerly we could only surmise and follow 
our fancy. 

In fact, Mr. Flower's chief purpose in having composed this book is apparently 
an endeavor to portray Franz Schubert in the light of the new material uncovered 
by recent research. We have been told often enough that Schubert was shy, that 
he had no tongue to give expression to his personality, and yet somehow in him 
there must have radiated a personality forceful and magical, for it drew about him 
one of the most brilliant circles in musical history. The myths with which the 
biographers have so long played have been put away and here Schubert is generously 
and realistically delineated by a sympathetic, thoroughly informed portraitist. One 
reads of his friendships and struggles, hopes and secret griefs, of his fragile joys and 
pale sorrows, commingled like the happiness and tragedy that haunt his poignant 
music, until one lays down the book, finally, feeling that for the first time we really 
know Schubert, have spoken with him, for a brief magical evening have turned 
back the hand of time a century and wandered through the fields and mountains 
and towns with sweet, honest Franz Schubert, simplest of souls, tenderest of music- 

{ xxxvii 1 


EVENINQS IN THE ORCHESTRA. By Hector Berlioz, Translated from the 

French by Charles E. Roche. Alfred A. Knopf. 

AT LAST the celebrated Soirees de Forchestre, in an adequate translation, has 
/\ been made available to English readers. Cultivated musicians all know 
Berlioz's Memoires, which represents a more formal and calculated side of 
the famous French composer, but unfortunately too few are acquainted with the 
wittiest creation of the most brilliant writer in all musical journalism. Ironically, 
Berlioz seems fated to be remembered more for his musical criticism than for his 
musical creations, and in fact, at the time of his election to the Institut, a malicious 
but prophetic contemporary hinted that they had adopted a journalist instead of 
composer. c^> 

Certainly with its blithely irreverent and uproariously candid humor, touched 
now and then with a tang of bitterness, the present work is as entertaining and 
illuminating an exposure of the blague of Berlioz's day and musical world as one 
could well wish for, and in its impeccable prose and ingenious structure a veritable 
work of art. The writer pictures for us the orchestra of an opera house in "X", a 
"civilized town", where, for twenty-five "evenings", each painstakingly reported, 
he mingles with the artists and shares in their boredom or interest. Since for the 
most part they perform works of indescribable dullness and insipidity, before audiences 
of even greater stolidity, they attempt to relieve their burden by devoting their 
moments of inactivity, in the score being performed, to discussions, reading, debating, 
and other "cultural pastimes". A few wind instruments cluster around an excited 
horn player who has an animated new tale for their ears, while a double-bass hastily 
puts aside his instrument and hurries over in order not to miss anything. When 
their fits of laughter are too noisy, the conductor frowns, although one eye is smiling; 
at another time he exclaims: "Silence, gentlemen, the performance is over." 

Only a few of the "Evenings" are serious, but in the main the book reflects 
Berlioz's anger and disgust with contemporary musical conditions in Paris, aired 
always with a masterful impression of detachment. Historically, it is a valuable 
document exhibiting the evils under which the idealistic musician ever groans — the 
indifference, stupidities, vanities, impediments, injustices which all but choke up 
the path of the artist's progress. Viewed apart from all this, the volume is a bril- 
liantly conceived, wittily executed, and quite unique masterpiece, which every 
intelligent mind will at once welcome. 

7. 5. BACH, A Biography. By Charles Sanford Terry, Oxford University Press. 

THIS biography, by the noted English scholar and authority on Bach, is long and 
weighty, filled with the minutest gleanings of widespread researches. One 
might wonder why any one would write another biography of Bach now, when 
so many excellent ones already exist, even though this is avowedly a study only of 

I xxxviii 1 


"Bach the man"; but, as a matter of fact, Bitter, the first to approach Bach by modern 
methods, has devoted altogether too little space to the events of Bach's career, while 
Spitta's classic work is so monumental, so vast in structure, as to leave Bach almost 
out of sight — and since then, Schweitzer's Life has proved more illuminating upon 
the art, as Hubert Parry's has upon the personality, of the German composer. Hence, 
Dr. Terry's book really fills a definite need, for it is an exhaustive and seemingly 
definitive array of the facts of Bach's career, furnishing almost microscopic and often 
prosaic details of the physical aspects of his activities, surroundings, possessions, 
associates, and the like. This work will become at once a standard source book of 
information. One cannot commend too much the seventy-five or more illustrations 
from really superb, and in many instances unique, photographs. 

BEETHOVEN THE CREATOR. By Romain Rolland. Translated by Ernest 
Newman. Harper and Brothers. 

THIS work carries the subtitle "The Great Creative Epochs: I, From the Eroica 
to the Apassionata", so that we are led to expect more in the future from 
M. Rolland. Physically, this volume is weighty in appearance and format, 
while there are numerous unusual illustrations and cuts, with an imposing array of 
Appendices and References; actually, what the author has to say seems uneven, 
inflated, gusty, even erratic. There are grandiose gestures and emotional out- 
pourings, where sober appraisal and less emotionally colored analysis has evoked a 
convincing and more natural Beethoven in biographies already in existence. 

Walter Wilson Cobbett. With a Preface by W. H. Hadow. Volume 1, A-H. 
Oxford University Press. 

MR. COBBETT, an enthusiastic devotee, performer, and patron of chamber 
music, has allowed his long years of activity in this field to bear fruit in 
the form of this truly unique and invaluable work which, in an Institute 
of Music, should be in constant use for reference. In its number of articles it is as 
exhaustive as human ingenuity and care could make it, while in its individual 
articles, the texts are contributed by authorities like Vincent D'Indy, M. D. Calvo- 
coressi, Edwin Evans, Carl Engel, Henry Prunieres, Rosa Newmarch, L. Sabaniev, 
Egon Wellesz, A. Casella, and a long list of others. In elaboration of detail, the 
articles could not be more full or explicit, while in scope they are thoroughly modern. 

— E. L. 

f xxxix 1 

Music Calendar 

October 15-32 

16 — Lawrence Tibbett, baritone, and Geoffrey O'Hara, pianist, in Forum 

recital, Academy of Music, evening. 
18 — Philadelphia Orchestra, Stokowski conducting, Academy, afternoon. 
19 — Fritz Kreisler, violinist, Academy, afternoon. 
19 — Philadelphia Orchestra, evening. 

20 — Philadelphia Musical Fund Ensemble, Bellevue-Stratford Ballroom, 

21 — Ruth St. Denis and Ted Shawn, Forum recital, evening. 
23 — "Carmen", Philadelphia Grand Opera Co., Academy, evening. 
24 — "Prince Igor", Philadelphia Civic Opera Co., Academy, evening. 
25 — Philadelphia Orchestra, Isabelle Yalkovsky, pianist, afternoon. 
26 — Philadelphia Orchestra, Yalkovsky, evening. 

27 — Giovanni Martinelli, tenor, Penn Athletic Club, evening. 

28 — Philadelphia Orchestra, Nathan Milstein, violinist, evening. 

29 — New York Metropolitan Opera Co., Academy, evening. 

30 — Philadelphia Orchestra Children's Concert, Alexander Smallens con- 
ducting, afternoon. 

31 — Philadelphia Orchestra Children's Concert, afternoon. 

31 — "Le Jongleur de Notre Dame", Philadelphia Grand Opera Co., 
with Mary Garden, evening. 

I xxxx 1 


November 1-1$ 

1 — Philadelphia Orchestra, Sonia Grammate, violinist-pianist-composer, 

2 — Philadelphia Orchestra, Grammate, evening. 

3 — Philadelphia Orchestra, broadcasting, afternoon. 

4 — New York Philharmonic Orchestra, Toscanini conducting, Academy, 

4 — "La Forza del Destino", Penna. Grand Opera Co., Metropolitan 

Opera House, evening. 
5 — New York Metropolitan Opera, evening. 
5 — "Lucia", Penna. Grand Opera Co., evening. 
6 — Smallman A Capella Choir, Forum recital, evening. 
7 — "Faust", Penna. Grand Opera Co., afternoon. 
7 — "Rigoletto", Penna. Grand Opera Co., evening. 
7 — "Romeo and Juliette", Philadelphia Civic Opera Co., evening. 
7 — La Argentina, dancer, Penn Athletic Club, evening. 
8 — Philadelphia Orchestra, Gregor Piatigorsky, 'cellist, afternoon. 
8 — "Cavalleria" and "Pagliacci", Penna. Grand Opera Co., evening. 
9 — "Madama Butterfly", Penna. Grand Opera Co., afternoon. 
9 — "Aida", Penna. Grand Opera Co., evening. 
9 — Philadelphia Orchestra, Piatigorsky, evening. 

10 — Smallman A Capella Choir, Penn Athletic Club, evening. 

10 — Swastika Quartet and Joseph Levine, pianist, chamber music recital, 

Pennsylvania Museum on Fairmount, evening. 
11 — Philadelphia Orchestra, Piatigorsky, evening. 
12 — New York Metropolitan Opera, evening. 

13 — Philadelphia Orchestra concert for Benefit Pension Fund, evening. 
13 — Louis Bailly, viola recital, Casimir Hall, evening. 
14 — ■" Madama Butterfly", Philadelphia Grand Opera Co., evening. 
15 — Philadelphia Orchestra, afternoon. 

| xxxxi } 


The Monthly Publication of The Curtis Institute of Music 


published by 

Rittenhouse Square 
Philadelphia, Pennsylvania 


Vol. I November 15, 1929 No. 2 



Editorial Comment 15 

An Open Letter Josef Hofmdnn 17 

Professor Auer Responds Leopold Auer IS 

A Pianist Analyzes His Choice Alexander Lambert 21 

Annotations of a Stradivarius Hunter "EZkee" 25 

Casimir Hall Concerts 38 

Faculty Activities 41 

Student Activities 44 

Radio 48 

The Library 49 

Glimpses of the Institute 

I. The Common Room 51 

Recent Books : 

Poem, Tribute to Music. By George O'Neil 52 

Brahms. By Walter Niemann 52 

Beethoven s Quartets. By Joseph de Marliave 53 

Manuel de Folia. By J. B. Trend 54 

Stories of the Qreat Operas, II. By Ernest Newman 54 

British Ballads from Maine. By Barry, Eckstorm, and Smith 55 

Alia Breve. By Carl Engel 55 

Music Calendar 56 

A Note on Format 58 


Portrait of the Founder and President 14 

Three Sketches William Strasser 17, 20, 23 

Three Views of the Antonius Stradivarius Violin 24 

Views of the Qojffriller and Quarnerius Violins 32 

Views of the Quadagnini and Rogeri Violins 34 

The Common Room of the Institute 50 

Permission is granted to reproduce parts of this magazine provided due acknowledgment is made to Overtones 
Copyright 1929 by The Curtis Institute of Music. Printed in the United States of America 


MARY LOUISE CURTIS BOK, Founder and President 


Editorial Comment 

undoubtedly the outstanding occurrence, during the past month, 
of interest to The Curtis Institute and its members, has been 
the production of the first three operas of the new season of 
The Philadelphia Grand Opera Company, with which the 
Institute has become affiliated. The details of the three productions, enumer- 
ated elsewhere in these pages, indicate the extent of our participation in 
the activities of this company. With Institute singers taking all but the 
most important solo parts, the opportunities for gaining sound experience 
in operatic acting and singing are invaluable for those students who are 
preparing themselves for careers in the field of opera. The benefits to be 
derived are obvious and fill a great need which hitherto could be satisfied, 
for the average ambitious vocal student, only by a sojourn of many years 
in various provincial capitals of Europe where the minor opera houses 
have been more or less hospitable to American singers. Now, students 
of opera who do not wish to be separated from their teachers in the 
Institute have the opportunity not only of continuing their vocal study, 
coaching lessons and repertoire, acquiring diction and languages, and par- 
ticipating in operatic acting classes, but also of making a practical appli- 
cation of what they have learned, under conditions which are thoroughly 
professional. The arrangement has already demonstrated its many ad- 


WE need not call attention to the changed format in which the 
second number of Overtones comes to its readers, but some reference 
seems appropriate here to the decorations which accompany its text and 
which will be continued and added to in future numbers. Those who are 
familiar with the buildings of the Institute will at once recognize the 
source of the drawings, while others will be interested to learn in this way 
of the wealth of beauty in the architectural details and works of art which 
are incorporated in The Curtis Institute of Music and which provide a 
stimulating background and atmosphere in which to carry on the study of 
the particular art to which we are dedicated. 

The buildings, which at the outset were among the most beautiful 
in Philadelphia, have, during the past five years, been remodeled, enlarged, 
and decorated, both inside and out, by patient architects and skilled crafts- 
men. The beauty of the work in stone, metal, and wood can scarcely be 
described to those who can not see and experience it. The studios have 
been slowly and discreetly furnished with objects of rare beauty, tapestries, 
Oriental rugs, marbles, bronzes, paintings, etchings, and the like. It is 
interesting to note that one of the canvases which hangs in the Institute 
was selected by its painter to be displayed in Pittsburgh in this year's 
Carnegie International Exhibition. Unobtrusive as these works of art may 
be, they take their place along with the distinguished faculty of the Institute, 
the fine Library, the rare musical instruments, and the like in exercising 
a subtle but no less powerful influence on those students who come to work 
in this atmosphere. 

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An Open Letter 


robably all of us have often wondered how we happened to 
choose a given medium to express ourselves musically. But — 
by whatever route we came to the decision, most of us have 
adhered throughout our lives to a selected mode of musical 

expression, and this because we believe in this particular form of artistic 


If this is so, why not openly declare and explain the manifold reasons 
which have induced us to give preference to one form of self-expression 
rather than to another? Let our hearts dictate and tell in Overtones, 
yet "tonically", what we think of our chosen mode of musical expression, 
and why we decided to make it our life's work. Let us substantiate the 
musical and artistic characteristics and advantages of our chosen gospel; 
because only by comparing different points of view and bringing them 
into juxtaposition, shall we be able to get a thorough insight into the 
musical and artistic depth of things that move and rule the subtle and 
emotional world. 


Merion, Pennsylvania, October 21, 1929. 



Professor Alter Responds 

herewith state my opinions and preferences concerning 
musical matters in general; also I wish to tell what my musical 
gospel was and why I chose the violin as my artistic medium 
for self-expression. Having cheerfully consented to cast light 
upon these questions, I hasten to declare — as an introductory remark — that 
I did not begin the study of my instrument — the violin — by choice. 

My father — a poor but ambitious man, by trade a house painter, 
took me one day to a violinist who was a member of the Catholic Church 
Orchestra in my native town, requesting him to ascertain whether or not 
I had talent for music. This my father did without consulting me at all. 
The violinist looked me over and presently placed a very small violin and 
bow in my hands. The incident marked the beginning of my studies. 

There are children, who, in their early years betray pronounced interest, 
sometimes even love, for some particular instrument, devoting all of their 



spare time to its cultivation, without parental urge or compulsion. I, 
personally, have no recollection of having experienced a similar desire 
or craze in my childhood. It seems to me, however, that the lessons I 
took produced favorable results. About four years after I started my 
studies, I was sent to the National Conservatory of Budapest, through the 
financial aid of friends of the family, and later on for further studies to the 
Vienna Conservatory. It was in the year of 1858, and at the age of 
thirteen, that I had to leave this latter institution because of lack of 
funds for my support. Woefully unprepared for concert work, and 
musically quite immature, my father took me on a concert tour in the 
expectation of making a fortune out of the venture. His high hopes 
were doomed to failure. 

In those days I had often the opportunity of listening to the playing of 
great masters and realized, more and more, my musical and technical 
deficiencies. Therefore my trip to the city of Hanover, Germany, was a 
very fortunate event in my life. There, at the age of sixteen, I met 
Joachim, became his pupil, and for the first time, during my short existence, 
I had the privilege of hearing the master pieces of chamber music, as well 
as those of the violin solo literature, played by Joachim, as only Joachim 
could play them. To me it was a veritable revelation. The works of 
Bach, Beethoven, Mozart, Schumann, and Brahms affected me profoundly 
and left an indelible impression upon my musical nature. My love and 
enthusiasm for the true and sublime in musical art, dates from these happy 
days. Through gradual artistic growth and conviction, I attained the 
rank of a real musician. The violin became my spokesman. 

Some years later — I think it was in J 868 — I received my appointment 
as professor at the St. Petersburg (now Leninegrad) Imperial Conservatory. 
At the same time I founded a string quartet with the great Davidoff at 
the 'cello desk, concert master Pickel playing second violin, and Professor 
Weickman, viola. After the death of my lamented comrade, Davidoff, I 
reorganized my quartet. A former pupil of his, Professor Verschbilovitsch, 



became his successor, while the second violin and viola parts were taken 
over by two former pupils of mine — Kruger and Korgueff. 

A most interesting period began with the foundation of my quartet. 
Tschaikovsky, Borodine, and the then youthful GlazounorT, brought their 
manuscripts to our rehearsals. After their careful study, and thorough 
mastery, we presented them to the public, at our chamber music soirees, as 
first performances. My annual tours through Europe, as virtuoso, did not 
seriously interfere with my pedagogic activities, nor did they weaken my 
attachment to the cause. The return to my class always felt to me like a 
joyful reunion with old friends. The violin was our common bond of 

My ardent wish to extend my knowledge in music to wider fields, 
led me to the intensive study of orchestral scores. My efforts in that 
direction were not wasted by any means, as my appointment to the con- 
ductorship of the Symphony concerts proved. I held the post for five years. 
Besides the smaller and larger orchestral works, I also introduced — as a 
novelty — the Requiem of Berlioz. Of course, judging by the foregoing 
remarks, it is quite obvious that the violin did not monopolize my interests 
to the exclusion of other branches of my art. 








^/i--L\U— --- - Li u a i\ _-^ -uuu^-^- 

yf Pianist Analyzes His Choice 

he first sentence of your request leads me to believe that I 
am not alone in finding it difficult to put into words the forces 
which influenced me and the particular factors in my inheritance 
and early surroundings which were most powerful in shaping 
my inclinations toward music in general and the piano in particular as 
the medium through which I could best express my personality. I have 
often "wondered" why my own mind, as well as those of others with 
whom I have been more or less closely associated, has fastened upon one 
subject rather than upon another as the best means of individual expression. 
The whole subject of personality has received a great deal of scientific 
investigation during the recent past. I am not sufficiently versed in such 
scientific procedures to be able to explain my own case in terms of "glands", 
yet I am convinced that we have in our physical makeup definite constitu- 
ents which influence — even perhaps utterly rule — us in our reactions 
toward life. That these factors are largely hereditary seems a natural deduo 



tion from such a line of reasoning. That environment may do much to 
modify and control these hereditary factors, also seems very probable. 

My father was a violinist, but I cannot recall ever having felt any 
interest in that particular instrument. Yet music was my delight from my 
earliest childhood. I loved to listen to it, and almost before I can remem- 
ber, I began to drum upon the piano. This may have been because the 
piano was the means of musical expression which was most readily 
available. But the fact that long before I had any regular instruction I was 
able to pick out a number of tunes quite by ear, would lead me t > b'.lieve 
that even at that age I had begun to realize that this instrument offered 
me a means of expression peculiarly suited to my individual -leeds. The 
piano became a companion, and association with it supplied certain wants 
in my mental life which human companions could not give me. At 
about eight years of age I began to have regular instruction, and from that 
time forward my love for the piano, and my interest in it steadily increased, 
so that taking it as a life work seemed to be inevitable — a mere following 
of the line of least resistance. This is probably the actual course of many 
men's choice of a life work. 

I found the piano the pre-eminent means of self-expression; through it 
I was able to obtain a satisfactory projection of my moods and sentiments. 
Making an effort to analyze these feelings somewhat in detail, I find that 
my nature is essentially self-assertive and independent. I have always 
been unable to permit others to share my responsibilities, and am impatient 
of those who wish to be associated with me in any undertaking. My 
choice of the piano as my instrument of expression can be reasonably 
traced to these predominating traits in my character. 

The piano is the only complete musical instrument; the only one which 
possesses within itself the potentialities of an entire orchestra. It has been 
borne in upon me throughout my entire career that it is the sole means of 
perfect musical expression. I have come to regard it as the king and 



master of all other instruments; without its assistance no other can prevail, 
yet it requires the assistance of no other to attain its own perfect expression. 
It is therefore peculiarly suited to me, enabling me to preserve my artistic 
integrity, and to retain that sense of being sufficient unto myself which 
I am forced to admit is one of the most powerful factors in shaping my 
mental life. 

It seems reasonable that these same considerations influenced me even 
in my very earliest childhood, although at this late date it is impossible 
for me to trace the precise impulses which led me into that "path of least 
resist? ncz" hi which I have already spoken. 

My musico-artistic gospel may perhaps be summed up by saying that 
the piano appeals to me above all other means of expression because it is 
an absolutely independent instrument — an entity complete in itself — 
having absolute mastery over every individual form of expression. 








Annotations of a 

Stradivarms Hunter 

here arrived in the Port of New York during the month of 
September last, five celebrated and distinguished newcomers 
whose destination was The Curtis Institute of Music, Philadel- 
phia. This in itself, would astonish no one familiar with the 

Institute, for the arrival of celebrities bound for that destination is of 

regular occurrence. ^ 

What was astonishing, however, was the fact that the newcomers 
arrived in beautiful velvet lined boxes, in which they were carefully 
wrapped in silk and fastened with heavy ribbons; that each one had one 
and some had two passports; that they all came originally from Northern 
Italy, though by long and devious routes, and that not one was younger 
than 174 years, while the oldest owned frankly to being 232 years in age ! 
They bore the names of 

Antonius Stradivarius of Cremona 

Francesco Goffriller of Udine 

Petrus Guarnerius of Venice 

Johannes Baptista Guadagnini of Milan, and 

Petrus Jacobus Rogeri of Brescia. 

Their combined ages exceeded 1000 years, yet all five, though constitu- 
tionally fragile, arrived in the pink of condition after their long and 



perilous voyage; not a wrinkle marred their complexions and they bore 
the appearance of robust and healthy youngsters, ready for a song upon 
any proper occasion and under correct handling. Having been received 
and assigned, each to his especial compartment in the new instrument 
room of the Institute, it may perhaps be interesting to learn something 
of their history, their makers, their especial characteristics, and a little — 
for all cannot be told — about their acquisition. 

The searching, locating for, and final purchase of really fine instru- 
ments is becoming a matter so difficult, so complicated and delicate 
of negotiation, that very few persons are qualified to undertake it, and 
most of the world contents itself with purchasing important instruments 
from dealers, who have been equipped by training and years of experience 
in the judging of instruments, and whose business depends upon the 
reliability of their judgment and the absolute dependability of their 
guarantee. The path of the collector is beset on every side by all sorts of 
difficulties, treacherous pitfalls and traps cleverly set and disguised by 
would-be vendors. The manufacture, in entirety, of intentionally faked 
"authentic" instruments; the repairing of utterly decrepit old specimens; 
the substitution of authentic labels in some faked instruments, and the 
construction of "examples" out of bits of old instruments past repairing, 
may be cited as some of the more obvious tricks of the trade. In addition 
to being familiar with such phases of the instrument market, a collector 
must be so thoroughly acquainted with different periods, styles, peculiari- 
ties of structure, varnish and tone that he can form an independent and 
dependable judgment of his own. How important this may be is indi- 
cated by the fact that in certain cases the legal "come-back" of a purchaser 
who becomes suspicious of his dealer or instrument, is very limited in time. 

It may be said that the business of dealing in fine instruments is at 
present so thoroughly organized that it is practically impossible to make a 
"find" of a genuine old instrument. Practically every authentic specimen 
of any value is known to "the trade" and is neatly catalogued in card 
indexes or some secret notebook. How then would one set himself to 



work to acquire a fine instrument? What path must he follow, beyond 
the obvious one of inspecting the collections of well known houses? No 
more do those old time roaming dealers ransack the towns and villages 
of Italy and appear in Paris or London with boxes of fine instruments! 
The sources are exhausted — there is no more harvest to be reaped. It is 
therefore generally only by merest chance, by rumor, by a whisper, that 
one may hear of a good instrument not yet in dealers' hands. Possibly a 
doctor may know a patient who is in need and has a fine instrument to 
sell, or a boy coming to a city conservatory to study music may say, "At 
home there is an old man who used to play — he has an old Italian violin 
and must sell it." Imagine how many false leads are followed, what time 
and effort and expense are wasted ! There are in the files of The Curtis 
Institute, for instance, dozens of letters offering Stradivarius violins for 
sale, which, when investigated, prove to be written by cranks or by 
persons who know nothing at all about violins. 

Two years ago the writer had an amusing experience in a village far 
out of the beaten path in Brittany. He entered a second hand shop, where 
he was known from previous visits, to inquire about some Delft vases he 
had seen there. The vases were still in the dingy window, but the slant- 
eyed shifty-looking proprietor was not to be seen. Presently, a woman 
whom he recognized as the owner's sister, appeared and in reply to 
questions, said her brother had fallen suddenly ill and died. "All must 
be sold," said she. "And what else have you?" the writer asked. To his 
surprise she replied, "Do you know anything about violins?" "A little", 
said he, "Why, have you one?" "Oh, yes, Monsieur, but it is marvellous" 
(and confidentially) "Mme. la Comtesse de la X. . . . said to me but 
yesterday, 'Madame', said she, 'have a care of that violin! Do not let 
anyone cheat you into selling it too cheaply. You have, if I mistake not, 
a prize!' " "Let me see it", the writer demanded, "I will be honest 
with you; if it is good, perhaps I might even buy it." The old woman 
scuffled off in her felt house shoes; upstairs she went and could be heard 
opening the creaking doors of a great armoire as she got out her treasure. 
At last she returned with the violin wrapped up in a newspaper. She 
displayed it at a safe distance from possible theft, announcing in triumph, 
"Voila It violon! Made by Paganini himself!" Of course she had 



nothing but a cigar box instrument, but the idea of Paganini having ever 
made it or any violin, convulsed the writer with laughter. So long has 
the fame of the magic player survived even in remotest Brittany that his 
name is now being used as a commercial trademark. 

In complete contrast to this experience among the Bretons, was a 
recent one among the Norwegians. In Norway, land of stupendous 
scenery, of mountains ascending abruptly to the sea, of great fjords running 
a hundred miles into the heart of the country, like canyons whose floors 
are great arms of the sea — where winter with its months of isolation cuts 
off the inhabitants from almost all human intercourse — in this land of 
the midnight sun, everywhere people are playing their violins, seeking by 
this means to alleviate their loneliness and to express themselves in defiance 
of nature's restrictions. In the smallest towns, the general store, which 
sells drugs, food, clothing and is at the same time, postoffice and telephone 
exchange, one end of the tiny counter is reserved for supplies for violins; 
chin rests, strings, rosin, bows, bridges, and even home made instruments are 
for sale. On the day of the writer's departure from the estate of a friend 
living on the Norfjord, one of the young men who acts as herdsman in 
the summer brought in for display his violin, made by himself with the 
most primitive tools and from materials which he had for the most part 
himself collected and worked from the raw state. Imagine if you please 
a violin of rather guitarish shape, short in neck and wide in body, of 
beautiful wood, exquisitely worked and varnished, and adorned with 
inlay of white bone, and elaborate carving which not only surrounded the 
table, but extended in an unique and really elegant pattern up the neck and 
scroll, and included some delicate lacelike inlay in circular pattern on the 
face of the table — somewhat similar to an elaborate Viol a" amour instru- 
ment. Who could help being amazed at the patience, ingenuity, and 
innate artistry of this Norwegian herdboy, untrained and self taught? Or 
who could fail to regret that so much native talent should lack of training 
or even a correct model to follow? Especially when the treasured violin 
of Ole Bull — the one that Gasparo da Salo made and which Benvenuto 
Cellini is said to have ornamented — lies in the museum of Bergen, barely 
twenty-four hours distant from the herdboy 's home! 



It is indeed a long step from the Norfjord to Paris or London, the 
great violin marts of Europe — but if you have never visited any of the great 
dealers' offices in those cities, you have an interesting experience before 
you. The confidential clerk receives you, and if you are known, or properly 
introduced, you will be invited into an inner sanctum where probably 
some interesting and curious portraits of violin makers or players, old 
playbills or curious instruments will entertain you until the head of the 
house enters. After a desultory conversation you inquire if he has anything 
interesting to show you. Here the technic of the houses varies. In one 
house, only one or two instruments may be displayed. You are asked to 
try them; if you ask for more, they will be brought, but seldom will all 
the treasures be shown. Your taste, your price limit, your reliability will 
be elements governing the display. In another house, whose private show 
room is a large salon in the style of the Second Empire, in case you are 
known to "the House", all the rare instruments will be laid carefully upon 
a huge table in the center of the room, with a few fine bows, and you may 
inspect and try them out at leisure. It is a marvellous sight to see the 
priceless collection of this latter house. 

But let us suppose you have heard a whisper — possibly through some 
"little" dealer who has but one or two instruments — that he knows of one 
("Oh, wonderful ! But so difficult to see and perhaps impossible to buy !"), 
what would you do? You would, as did the writer, make a half day trip 
to a provincial town to look up that instrument. Arriving, you discover 
it to be indeed a marvellous example, the darling of an old man's heart. 
You sit down to pay court to both the instrument and its owner, over a 
sandwich and a bottle of beer in a stuffy "sitting room", listening for 
hours to the old fellow's encomiums of his instrument, learning of his 
intention, when he can at last retire, of playing upon his precious fiddle 
all the rest of his days, and that only death shall them part. Not all your 
tact, not all your bribes will avail to weaken the old fellow's intentions, 
and you finally return to town envious of the owner, amused at his im- 
possible determination to play out the rest of his years, and crestfallen at 
your own failure to obtain what is a genuinely fine violin after having 
wasted so long a time in seeking and courting it ! 



Or it may be that a little bow maker, working way up at the top of 
four flights of dingy rickety stairs, amid hanks of Russian or Australian 
horse hair hanging from the ceiling, and piles of Pernambuco wood 

seasoning on the work room floor, will say, "X was here the other 

day, he broke his Lupot bow and needed another. He says he knows a 
man who has a client who is in financial troubles and wants to sell his 
Stradivarius. He belongs to the nobility and the Stradivarius is an 
heirloom. He is so proud he wants no one to know he has had to sell 
anything, but alas! he must sell, as he is in debt for his limousine." — What 
would you do then? — Ah, here is a case where diplomacy more profound 
than Macchiavelli's must play its part! And in the end should you 
succeed, no hunter who has bagged a rare or ferocious animal, would have 
more reason to be proud than you, when after heartbreaking delays and 
difficulties, you finally see your treasure securely locked in its sturdy box 
and your all important guarantees of authenticity signed, sealed, and 
delivered into your own hands. 

Some such incident, after long and mysterious pourparlers carried on 
by agents, in which the principals never met, never even knew each others' 
names, led to the purchase this summer of the most important, the oldest, 
and the rarest of the five instruments just received by the Institute. I refer 
to the violin made by Antonius Stradivarius in Cremona i6gy. The 
history of Stradivarius, the greatest of all violin makers, is so well known 
that we need only recall that he was born about 1644 and died in 1737; 
that he was a pupil of Nicolo Amati, but began to use his own name and 
label about 1666; that up to the year 1675 Stradivarius closely followed 
Amati's model, but that later, being an expert workman of great intelli- 
gence, he began experimenting, changing his model, lengthening and 
slightly narrowing the body, until after thirty years he arrived at his own 
perfect design, which never varied thereafter. Splendor of tone, perfection 
and elegance of form, enhanced by the brilliancy and delicacy of his varnish, 
the secret of which has perished with Stradivarius' death — these are the 
elements which have caused the Stradivarius violins to be rated as the 
finest specimens of the violinmaker's art, commanding extremely high 
prices because of their unique perfection. During an extraordinary life 
of ninety-three years, working almost up to his death, an enormous number 



of violins issued from his workshop. It is computed at between two and 
three thousand. Possibly six hundred have survived in part or in entirety. 
Among these, the violin now owned by the Institute has remained 
quietly in the possession of one noble family for a hundred and more years; 
for this reason it has been seldom seen or heard and has been known to but 
few persons. For this reason also it has preserved its original qualities to a 
very high degree — all the parts are authentic, the varnish is untouched, and 
there are no blemishes. In form it belongs to the instruments of the Amati 
type, having been made when Stradivarius was about fifty-three years old 
and within a few years of the time when the master perfected his own final 
model. The length of our example is 355 millimeters. The back, of one 
piece of maple, cross cut, is wavey in effect with the veins distinct but 
interlaced. The sides are of maple straight cut, with close veining. The 
table (or front) is in two pieces of pine of unusually fine grain larger towards 
the sides. The scroll is exquisite, in the best style of the maker, well 
waved. The wonderful varnish of a golden orange tint is of great richness. 
The tone is superior to that of some other Stradivariuses I have heard, 
being rounder and fuller, and having a characteristic easy flow and sweet- 
ness. "This violin", adds one guarantor, "belonged to the famous col- 
lection of Count Molitor", and it is in fact called "the Molitor." The 
family, whence the name and the instrument come, is that of one of the 
Generals of Napoleon the Great. "Marechal and Comte, Pair de France ", 
Gabriel Joseph Molitor died in Paris in 1849 having served his country 
before and during the reigns of Napoleon the Great, Louis XVIII, and 
Louis Philippe. He was present at Napoleon's battles of Essling and 
Wagram and was at one time Governor of Holland. 

The Institute may indeed be proud to own an instrument from the 
hand of the greatest maker and associated with an owner of such a dis- 
tinguished name; a violin, whose history for a hundred years or more 
indicates that it has been cared for, as few instruments have, and whose 
possession has been sought by some of the best known dealers abroad. 

The violin by Francesco Qoffriller, made in Vdine in 1725, is exces- 
sively rare, being a fine example of a maker whose workmanship was most 






careful and whose violins are very difficult to find. Two brothers, Matteo 
and Francesco Goffriller, worked together, using a varnish peculiarly 
their own, delicate yet resistant, golden brown in color and of great trans- 
parency. So closely did the Goffrillers follow the Stradivarius model, that 
unscrupulous dealers have substituted Stradivarius labels in some Goffriller 
violins. The instruments of Francesco are rarer than those of his brother. 
In our example the name is branded on the back, which is of one piece of 
handsome wood of a mediumly wide curl, slanting downwards from 
right to left. The sides are similar, the head plainer. The table is of 
pine of fine grain, cut "on the treble", and more open grain on the bass 
side. The varnish is orange brown and the preservation fine. The tone 
is very brilliant. In fact this is an extremely fine instrument, and was a 
highly valued item in the collection of one of the great dealers abroad. 

Petrus Qudrncrius whose cunning hand made the next of our quintet 
of instruments was the son of Joseph and the grandson of Andre Guarnerius, 
and worked in Cremona and Venice from 1730 to 1755. Our instrument 
bears his original label "Venice 1750" . The back is in two pieces marked 
by a faint broad curl, the head and sides being similar. The table is of 
pine of grain of medium width, slightly wider on the bass side. The varnish 
is of a golden brown. The preservation is very fine. This violin is 
especially notable for its great evenness of tone quality through all the 
strings. Passing from one to another string there is no perceptible differ- 
ence in timbre or, in modern parlance, no "tone pockets" or gaps in quality. 

We come now to one of the most superb — if indeed not the very finest — 
of the existing instruments made by Johannes Baptiste Quadagnini. Not 
only does it belong to the best period, Milan 1755, but its condition is 
absolutely perfect, as fresh and brilliant as on the day it left the maker's 
hands. Not a scratch or scar mars the surface of that superb varnish, which 
glows as warm and brilliant as a Turner sunset painting, and is of a light 
orange brown color. The back is in two pieces of wood marked by a very 
broad curl descending from the joint; the sides are similar, but the curl less 
broad; the head is plain; the table is of pine of fine grain. The instrument 
is unique in that it has never had to be repaired. It belonged to the French 






violinist Trombetta who was a member of the quartet organized by the 
celebrated Professor Alard of the Paris Conservatory. The tone is charac- 
teristic of Guadagnini's best work, very powerful and brilliant. 

The last of the newcomers is a violin made in 1700 by Petrus Jacobus 
Rogeri of Brescia who was a pupil of Nicolo Amati and worked with his 
relative Giovanni Battista Ruggeri whose style he copied, so that their 
work presents a great resemblance. This violin is a very fine example of 
the maker's work and is in a very perfect state of preservation. The 
varnish is unusually beautiful and of a red yellow color. It is about 
fourteen inches long and a medium, not a small, sized model. Petrus 
Jacobus Rogeri or Ruggeri was the son of a violin maker Giambattista 
Rogeri who was a fellow pupil with Stradivarius in the workshop of 
Nicola Amati. This instrument was at one time in the hands of an 
Italian famous in violin history, by the name of Tarisio, and was bought 
in Turin by a rich merchant of Hamburg. Its next known possessor was 
Diehl of Berlin who sold it to a German violinist-collector. We acquired 
it from him upon his retirement. Even though the buying and selling 
of violins has been shorn of its former glamour of fortuitous discovery, 
or romantic circumstances, the personality of a great instrument still retains 
the charm of mystery — in fact the history of a gem of the violin maker's 
craft resembles in fascination that of some of the world's famous jewels. 
Some such mysterious charm surrounds the Rogeri from its connection 
with Tarisio of whom we have just spoken. 

Somewhere about the year 1827, an Italian called Louis Tarisio 
appeared in Paris bringing a collection of violins which he sold quickly 
and cheap. He was a man of no education whatever and was, in fact, a 
sort of second-hand-shop pawnbroker. From 1827 to 1854, when he. 
died, not a year passed without the appearance of Tarisio in Paris. He 
scoured Italy, gathering his harvest of violins from all sorts of persons and 
places. During thirty years of his working life he probably caused to pass 
from Italy west or northward, practically every instrument of authentic 
make by the old masters; Stradivarius, Guarnerius, Amati — all fell into 
his hands, complete, or in portions — for he also collected odd pieces, 



heads, sides, "tables", and backs, which were eagerly snapped up by 
makers of fake antique instruments. At last Tarisio died in October 1 854 
and the news reached Paris. An event indeed, for it was reported that 
a magnificent collection of old violins, the pick of his gleanings, had 
been left by the old fellow and would be sold for the benefit of his 
family. One of the great French violin makers of that day, Jean Baptiste 
Vuillaume, hurried to Italy at the beginning of the following year and 
on arriving at Novara and the small farm which had been the property 
of Tarisio, found all the family there assembled. "Where are the instru- 
ments", he asked. "In Milan" they replied, "but there are six here." 
"Where?" "Over there in the corner." To M. Vuillaume's amaze- 
ment he saw six violin cases piled up two by two on top of each other, 
on the floor, as there was no furniture. Vuillaume, kneeling upon the dirt 
floor, opened the cases, and discovered successively, a magnificent Antonius 
Stradivarius; a Guarnerius del Jesu; a Carlo Bergonzi, unique for preserva- 
tion; two Jean Baptiste Guadagnini, intact; the famous violin called "New", 
by Stradivarius, which had been sixty years in the hands of Count Cozio 
de Salabue and bought in 1824 by Tarisio. Often had the old fellow 
spoken of a marvelous instrument by Stradivarius which he said he owned, 
but which never appeared. So often, in fact, that the instrument had been 
nicknamed the "Messiah" as being long awaited and never seen. The 
clever dealer, realizing that he had a priceless treasure, had held it back 
until death stepped in and revealed the hidden wonder to a waiting world. 
When Vuillaume had opened all the boxes, his astonished eyes rested first 
upon one and then another of the marvels, whose beauty shone strangely 
against their miserable surroundings; while the men, women, and children 
of the Tarisio family stood about mystified by the stranger's attitude. 

In Milan, in the wretched hotel where Tarisio made his headquarters , 
were found piled up pell mell, two hundred and forty-four violins, violas, 
and 'cellos, all by old masters. After an examination the whole collection 
of 250 instruments was appraised at 80,000 francs cash. Upon the arrival 
of M. Vuillaume in Paris, all were quickly dispersed to the four quarters 
of the globe. Tarisio, the junkman, had in dying, left to his parents, mere 
peasants upon a wretched farm, a fortune of nearly one half million 
francs, the results of his bargainings between 1825 and 1854. This man 



who could neither read nor write, had concentrated all his natural acumen 
upon the subject of old instruments and by activity, intelligence, and good 
management had arrived at this surprising result. That the Rogeri, now 
owned by the Institute, was once in the hands of this strange old Italian, 
sets our imagination to work, trying to picture what may have been the 
experiences during the lives, two hundred years long, of the violins who 
have come to new homes with us! From the day when the pine tree 
standing upon an Alpine mountain side was marked, felled, all through 
the long period of seasoning, of fashioning, of varnishing and finishing, 
and during its centuries of existence, what may this Stradivarius not have 
experienced! What scenes of war, of peace, of riches, of poverty; what 
misery; what happiness; what despair and what triumphs has it not wit- 
nessed? None may say, but, as Virgil has said, the violin also may say, 
"Of all these things I was a great part." 

"ELBEE", Curator. 


Caslmlr Hall Concerts 

he FIRST faculty recital of the season was given in Casimir Hall 
on the evening of November 13 by Louis Bailly, in a viola 
recital, assisted by Madame Luboshutz, violin, Max AronofF, 
viola, Harry Kaufman, piano, Carl Weinrich, organist, and a 

chamber orchestra conducted by Sylvan Levin. The program was the 

following : 

]. S. Bach 


Ernest Bloch . . 
Joseph Jongen 

.... Sixth Brandenburg Concerto 
in B flat major, for two violas (with 
accompaniment of three violoncelli 
and two double basses, Organ obli- 
gato by Gevaert). 

Symphonie Concertante 

in E flat major, for Violin, Viola, 
and Chamber Orchestra 

. . . Suite for Viola and Orchestra 
(piano version by the composer) 

. . . Suite for Viola and Orchestra 
(piano version by the composer) 



E § 

Faculty recitals to follow during the coming month will be those given 
by Harriet van Emden, November 20, Lynnwood Farnam, December 4, 
and Lea Luboshutz, December 11. 

On the evening of December 1 the Musical Art Quartet will play in 
Casimir Hall in a recital tendered by Mrs. Bok. 

The First Students' Concert of the new season was given on Thursday 
afternoon, November 7, by students of chamber music under Mr. Bailly. 
The Swastika Quartet performed, reorganized to include Gama Gilbert 
and Benjamin Sharlip, violins, Max Aronoff, viola, and Orlando Cole, 
violoncello, while Joseph Levine, piano, assisted. The following was the 
program : 

Ludwig Van Beethoven String Quartet 

in E flat major, Opus 74 (Harfen- 


Louis Nicholas Clerambault Sonata 

in E minor, for two violins and piano 
{La Magnifiquc) 

Hugo Wolf Italian Serenade 

for String Quartet (in one move- 

Cesar Franck Quintet 

in F minor, for Piano and String 

The Second Students' Concert was given in Casimir Hall on Tuesday 
evening, November 12, by students of Mr. Farnam. The following is 
the program played : 



Paul de Maleinbreau Toccata 

from Suite, Opus 14 
Robert Cato 

Marcel Dupre "Berceuse and Spinning Song" 

from Suite Br e tonne 

Charles- Marie Widor "Finale" 

from Symphonie Qothique 
Lawrence Apgar 

Jean Roger-Ducasse Pastorale 

Carl Weinrich 

Marcel Dupre Adagiosissimo 

"He Remembering His Mercy" 

Harry Benjamin Jepson Toccata 

in G major 
Alexander McCurdy, Jr. 

Forthcoming concerts announced at present will be a piano recital by 
students of Alexander Lambert, November 25, and a violin recital by 
pupils of Madame Luboshutz, December 2. 

wi m m mmmmu mmmmmmm m «my 


=LAlAlA:Ui — ^U^U 


-Li Li LA U — =^= 


Faculty Activities 


osef Hofmann gave his first concert of the season on November 
12, in Woolsey Hall, Yale University, New Haven, Conn. On 
November 15, he will play with the Syracuse Symphony Or- 
chestra, Syracuse, N. Y., while concerts in early December will 
include a private recital in New York on December 4 and two appearances 
with the Cleveland Symphony Orchestra in Pittsburgh, on December 6 
and 7. 

Lynnwood Farnam has completed the first six of the ten pairs of organ 
recitals he is giving in a series of "Bach and His Forerunners", in the 
Church of the Holy Communion in New York City. Here, in an unfor- 
gettable atmosphere of twilight and the soft glow of candles, music- 
lovers and especially Bach enthusiasts have been privileged to hear from 
the hands of a master-organist some of the finest of XVI, XVII, and 
XVIII century organ music, much of it rarely, if ever, performed. 



Program I included works by Andrea Gabrieli, Pierre Attaingnant, 
Johann Sebastian Bach, Henry Purcell, William Byrd, and Vincent Lubeck. 
Program 11 was made up of selections by Frescobaldi, Samuel Scheidt, 
Bach, Palestrina, Jan Pieter Sweelinck, and John Bull; while Program 111 
presented compositions of Johann Gottfried Walther, Johann Nicolaus 
Hanff, Bach, Johann Peter Kellner, Francois Roberday, Nicolas de Grigny, 
and Luzzasco Luzzaschi. 

In Program IV there was music by Orlando Gibbons, Purcell, Josquin 
des Pres, Fabrizio Fontana, Frescobaldi, Daniel Erich, Jean Titelouze, and 
Bach; Program V offered compositions of Johann Nicolaus Hanff, Johann 
Jakob Froberger, Andre Raison, Palestrina, Georg Muffat, and Bach; while 
the most recent one, Program VI, has offered selections by Samuel Scheidt, 
Bach, Byrd, Gioseffo Guammi, and Frescobaldi. 

It may easily be seen from these names, many of them so rare on pro- 
grams of organ music, how great a task of research, study, and presenta- 
tion Mr. Farnam has achieved. Organists all over the world will have 
great interest in these programs and the last four pairs which will be given 
in April. 

Efrem Zimbalist has already begun the extensive list of concerts ar- 
ranged for him this season. On October 12 he played in Mt. Kisco, N. Y., 
while the night of October 20 marked his broadcasting from the Atwater 
Kent Studio. On October 26 he appeared in New York as soloist with 
the Conductorless Symphony Orchestra, playing the Beethoven Violin 
Concerto. The following Monday, October 28, was devoted to his own 
recital in Carnegie Hall, when Mr. Zimbalist played the following 
program : 



Brahms Sonata in D minor 

Bach Prelude and Fugue in G minor 

Frederick Stock Concerto in D minor 

Godowsky Waltz Poem 

Brahms-Joachim Hungarian Dance in E minor 

Tchaikovsky- Auer Andante Cantabile 

Bizet-Sarasate "Carmen" Fantasy 

Other recitals were given in Rochester, N. Y., November 1, Washington, 
D. C, November 2, and Madison, Wisconsin, November 5. Recitals to 
take place during the coming month will include Quincy, Illinois, No- 
vember 19; La Grange, Illinois, November 24; New York City, De- 
cember 11; and Haddonfield, New Jersey, December 13. 

Felix Salmond was among those who provided the program of the 
opening concert of the present season of the Beethoven Association in 
Town Hall, New York. Together with Ernest Hutcheson, piano, and 
Louis Persinger, violin, Mr. Salmond assisted in performing Brahms' Trio 
in B, Opus 8. Other concerts were given by Mr. Salmond in Kingston, 
Ontario, November 13, and before the English Folk Music Festival in 
Toronto, Canada, November 14, while on November 15 he will appear 
as soloist with the Rochester Symphony Orchestra, Rochester, N. Y. His 
first New York recital will occur on Saturday, December 14. 


Carlos Salzedo will appear in recitals during the first half of December 
as follows — Canton, Ohio, December 4; Urbana, Illinois, December 5, 
and 6; and New Orleans, Louisiana, December 9. 





Student Activities 


he FIRST three operas to be presented to Philadelphia as a result 
of the recent affiliation of The Curtis Institute of Music with 
The Philadelphia Grand Opera Company were Carmen, per- 
formed on October 23, Lc Jongleur de Notre Dame, given on 
October 31, and Madama Butterfly, November 14. Not only were these 
operas directed by Emil Mlynarski, the conductor of the Curtis Orchestra, 
with the stage management in the hands of Wilhelm von Wymetal, Jr., 
who conducts the classes in Operatic Acting in the Institute, but the casts 
of both operas included many Curtis Institute students of voice. 

In Carmen such nationally known singers as Sophie Braslau and Ralph 
Errolle were supported by Beniamino Grobani, Albert Mahler, Charlotte 
Symons, Helen Jepson, and Rose Bampton in the roles of Dancairo, 
Remendado, Micaela, Frasquita, and Mercedes, with Mahler singing also 
Zuniga. In Le Jongleur de Notre Dame, which presented Mary Garden 
once more to Philadelphia opera-goers, Curtis Institute students included 
Albert Mahler, Beniamino Grobani, and Arthur Holmgren singing re- 
spectively, The Poet, the Painter, and the Sculptor. In the pro- 
duction of Madama Butterfly, Helen Jepson, Albert Mahler, Arthur 
Holmgren, Clarence Reinert, Beniamino Grobani, and Abraham Robofsky 
represented the Institute, in the roles of Kate Pinkerton, Goro, Yamadori, 
the Bonze, the Imperial Commissioner, and the Official Registrar. 



The Curtis Institute Concert Course for the present season will have 
its initial concert on November 18, in Columbia Boro and York, Pa., 
when Josephine Jirak, contralto, Joseph Levine, piano, and Iso Briselli, 
violin, will appear. Other recitals during the coming four weeks will be 
as follows: 

November 21 — University of Delaware, Newark, Delaware, Arthur 
Holmgren, baritone, Judith Poska, violin, and Jorge Bolet, piano. 

November 23 — The George School, George School, Pa., Max Aronoff, 
viola, Lois Putlitz, violin, and William Harms, piano. 

November 26 — Western Maryland College, Westminster, Md., 
Clarence Reinert, bass-baritone, Helen Jepson, soprano, and Paul Gersh- 
man, violin. 

December 6 — Westtown School, Westtown, Pa., Paul Gershman, 
violin, Daniel Healy, tenor, and Joseph Levine, piano. 

December 13 — State Teachers College, East Stroudsburg, Pa., Edna 
Hochstetter, soprano, Carmela Ippolito, violin, and Max Aronoff, viola. 

December 14 — Cedar Crest College, Allentown, Pa., Edna Hochstetter, 
soprano, Carmela Ippolito, violin, and Max Aronoff, viola. 

The first of this year's series of five chamber music recitals in the 
Pennsylvania Museum at Fairmount was given Sunday evening, November 
10, before an unusually large and appreciative audience. Those partici- 
pating were students of Louis Bailly in chamber music and included the 
Swastika Quartet and Joseph Levine, piano. The program was the 
same as that given in Casimir Hall on the afternoon of November 7, 
and reprinted in this issue on page 39. 

This series will be continued by artist students and various organiza- 
tions of Institute players, and is under the direction of Louis Bailly, head 
of the viola and chamber music departments. The concerts were inaugu- 
rated a year ago with the enthusiastic support of Fiske Kimball, director 
of the Museum. At the six performances given last year it is estimated 



that the attendance exceeded thirty thousand. A feature of the programs 
is that much music is played that is seldom heard even by the regular con- 
cert-goer. Groups of players, ranging from the familiar trios and string 
quartets to chamber orchestras and wood-wind ensembles, are to be heard 
at these concerts. 

The purpose of the series, as expressed by Mr. Kimball and amplified 
by Mr. Bailly in his article, Music in the Museum, in the October number 
of Overtones, is to connect more closely in the public mind the arts of 
music, painting, and sculpture, and to establish a closer contact with the 
public on the part of such cultural institutions as the Museum and The 
Curtis Institute. 

Leopold Stokowski has accepted an ample list of Institute vocal 
students who will sing solo parts in the concert performance of Mous- 
sorgsky's original version of Boris Qodounow which the Philadelphia 
Orchestra and the Mendelssohn Club are to give on November 29, 30, and 
December 2. These students are Natalie Bodanskaya and Josephine Jirak, 
pupils of Madame Sembrich, Beniamino Grobani, pupil of Mr. de Gogorza, 
Paceli Diamond, pupil of Miss van Emden, and Rose Bampton, Daniel 
Healy, Arthur Holmgren, and Albert Mahler, pupils of Mr. Connell. 
The roles they will sing include the Simpleton, the Boyar in Attendance, 
Missail, the Hostess of the Inn, Xenia's Nurse, and others. 

Rose Bampton also appeared as Siebel in the Worcester Festival per- 
formance of Faust on October 4 in Worcester, Mass. 

Helen Jepson, Beniamino Grobani, and Arthur Mahler were Curtis 
Institute members of a quartet of singers who sang operatic solos, duets, 
quartets, and the like before the Locust Institute Club, of Philadelphia, 
on Sunday evening, November 3. 



Carl Weinrich assisted at the organ during Louis Bailly's viola recital 
in Casimir Hall on November 13, in the Bach Brandenburg Concerto 
No. 6. On November IS Mr. Weinrich gave a recital of organ music in 
Paterson, New Jersey, and on the 25th a second recital in St. Paul's 
Church in Philadelphia. 

Philip Frank, a pupil of Efrem Zimbalist, and Florence Frantz, pupil 
of Madame Vengerova and Harry Kaufman, gave winners' concerts, 
under the auspices of the National Federation of Music Clubs, in Cin- 
cinnati, Ohio, on October 30. 

Judith Poska, a pupil of Madame Luboshutz, played for the Baldwin 
School in Bryn Mawr on November 14. 

Jay Savitt, a pupil in conducting of Mr. Mlynarski, and a member of 
the Philadelphia Orchestra, has been promoted to the desk of one of the 
two principals in the second violin section of the orchestra. He has also 
been admitted to the Philadelphia Chamber String Simfonietta, as a first 

Edna Phillips, a pupil of Carlos Salzedo, and last year selected by 
Fritz Reiner to play with the Philadelphia Orchestra, is the permanent 
first harpist of the Reading Symphony Orchestra. She has been engaged 
to appear as soloist with that organization this winter. She will play the 
two Dances of Debussy with orchestral accompaniment. 



HE FIRST of a series of twenty half-hour radio broadcasts over 
the Columbia Broadcasting System, presented by The Curtis 
Institute, will take place on the evening of Friday, November 
22, at 10:30, when the following program will be heard: 

I . Beethoven Egmont Overture 

The Curtis Orchestra 

II. Mendelssohn Second and Third Movements 

from the Violin Concerto 
in E minor. 
Carmela Ippolito, Soloist 

III. Tschaikovsky From the "Nutcracker Suite" 

a. Danse de la Fee Dragee 

b. Trepak 

Agnes Davis, a student of Emilio de Gogorza, assisted in the program 
broadcast from the Atwater Kent studio, Sunday evening, October 20, 
when Efrem Zimbalist was the featured soloist. 

An interesting expression of appreciation came to Henrietta Horle in 
the form of a radiogram from Commander Richard Byrd in his winter 
camp after listening to the program over KDKA on October 5, when 
Miss Horle sang, along with Armand Tokatyan and others, in a radio 
concert broadcast from the Clubroom of the New York Times, specially 
arranged for by Mr. Adolph S. Ochs. 

Miss Horle says her thrill was indescribable when, less than three 
minutes after she had finished singing, the message from Commander 
Byrd arrived from so many thousands of miles away. 


The Library 

recent innovation in the Library is the establishing of a shelf 
in the music room reserved for what has been termed "Recrea- 
tional Reading", where there may be found the newer books 
added to the Library and selections made of special titles from 
books on the shelves. This month's group is announced to include Daniel 
Gregory Mason's Dilemma of American Music, Guy de Portales' The 
Mad King, Newman Flower's Qeorge Frideric Handel, Edward Bok's 
The Americanization of Edward BoK, Langdon-Davies's Dancing Cata- 
lans, Emma Eames's Some Memories and Reflections, Nejedly's Life of 
Smetana, Lillian Nordica's Hints to Singers, Dupre's Purcell, the Letters 
of Franz Schubert, Oscar Bie's Schubert the Man, and other similar works. 

Interesting additions to the collection of vocal music include songs by 
Felix Weingartner, Hugo Wolf, Erich Wolff, Max Reger, and Max 
Schillings. There are also fairly complete selections from the songs of 
Debussy, Dupont, Milhaud, and Severac among modern French com- 
posers, while the Spanish collection includes the works of Inzenga, Nin, 
Alio, Pujol, and de Falla. The list is rounded out by folk songs of French 
Canada, the Netherlands, and Wales. 

Among the new records received in November are Bach's Prelude in 
E flat minor, Rimsky-Korsakov's La Qrande Paque I{usse, and the 
Rachmaninov Piano Concerto No. z (played by the composer), all re- 
corded by Stokowski and the Philadelphia Orchestra. Ponselle sings the 
Casta Diva from Norma, and the Lener String Quartet have recorded 
Beethoven's Quartet No. 6. 




Glimpses of the Institute 


ppropriately named is this part of The Curtis Institute for 
it is the first room one discovers on entering the Institute, and 
every student and teacher passes through it many times during 
a school week. The accompanying photograph includes one- 
half of the room, that portion which one sees on one's right hand after 
passing through the entrance doors of the Main Building. Through the 
open door in the extreme right of the picture, a glimpse of the Library is 
to be seen, while the open door to the left reveals the office of the Dean. 
Other offices communicating with the Common Room are that of 
Geoffrey Harris, in charge of the Institute radio broadcasting, and the 
administrative offices reached by the corridor to the left of the 0ean's office. 

The imposing staircase continues for two more stories and leads to the 
office of Mrs. Bok, the studio of Mr. Hofmann, the Chamber Music 
Department and collection of Stringed Instruments, the studios of the Vocal 
Department, and other rooms. The recessed fireplace at the left of the 
staircase forms the background for the teas, receptions, and similar events 
which take place at intervals during the year. The richly panelled and 
beamed ceiling is punctuated before the fireplace by a vast well which 
continues for the entire width of the room, turning the second floor into 
a balustraded balcony. The left half of the room, not shown here, offers 
further space for students who have a few moments for loitering while 
waiting for classes and lessons. A door at the extreme left leads to the 
foyer of Casimir Hall. 

Were this large and restful room able to speak, it would be eloquent of 
distinguished musicians who have lingered in it. Leopold Stokowski at 
one time conducted his orchestra classes in it, one evening was made 
momentous by an impromptu performance of the Rubenstein Piano 
Concerto by Ossip Gabrilowitsch, recitals have been given here by Josef 
Hofmann, Wilhelm Bachaus, Moiseivitsch, Landowska, Carl Flesch, 
De Gogorza, Salmond, Bailly, Salzedo, and others, before the completion 
of the present Casimir Hall. 


Recent Books 

By Qeorgc O'Ncil 

Call this music, this marvelous invasion 

Of sounds mysteriously burdened through 

The captivated ear. What odd persuasion 

Coils into strings and pipes that they can do 

Such subtle violence to any brain? 

How is it that a finger touching wire 

Or that a lip upon a whittled straw 

Can wall a room with wings — by waving fire 

Compel the languid pulse to drum in awe? 

Now there are meadows in the mind with grain 

Too bright for harvesting, too strange for bread; 

Now there are stretches of a sea instead 

Where gaunt waves crash upon earthly rock. 

From heights where unimagined echoes fall 

Fleet disembodied voices, scarcely heard, 

Crying in overtones a breathless word 

Of incommunicable power, unlock 

The gates which have been closed against us. Call 

This intricate illusion what you will : 

With song we are allowed in Eden still. 

This tribute to music is one of many effective poems in the author's new volume, God Beguiled 
(Horace Liveright, New York.). 

BT^AHMS. By Walter Niemann. Translated from the German by Catherine 
Alison Phillips. Alfred A. Knopf. 

THERE is nothing that one can write about this book without resorting to a 
flow of superlatives. Beautiful in design and binding, it is in its contents 
the finest study of Johannes Brahms in one volume to be found in English. In 
composition its structure is simple and clear, Part I surveying Brahms's life in three 
sections, Early Years, Years of Travel, and Maturity, and Part II which, after a 
Preliminary Survey, approaches the works in two groups, The Instrumental and The 
Vocal Music. There are valuable Appendices on Brahms's Works, his Arrangements 
of his own Works, bibliographies of the principal German and English works on 
Brahms, an Index of Names, and an Index of References to Brahms's Works in 
the Text. 

Dr. Niemann seems ideally qualified to have undertaken this difficult and most 
welcome book. A son of a fine musician who impregnated him with a love for 



music, himself a student of music over long years, under such figures as Humperdinck 
and Hugo Riemann, under whom he received his Ph.D. in music at the University 
of Leipzig, he has contributed musical articles in abundance to journals and has won 
distinction in Germany for his piano compositions and his knowledge of practically 
everything connected with that instrument. Because of his great admiration for 
Brahms, he undertook the writing of this book, which he considers his greatest 

The biographical section is not merely a repetition of the familiar facts of Brahms's 
life but an attempt at a critical review of the biographical material. A new point is 
the stressing of the Low German characteristics in Brahms both as man and as artist, 
and in consequence, an upsetting of the customary estimate of Brahms as "harsh" 
and "hard", emphasizing rather the tender qualities of the composer. The section 
dealing with the works is not prolonged outpouring of admiration or dispraise, as 
with a number of familiar, supposedly critical estimates of Brahms, but attempts 
rather an impartial consideration of the "immortal" and the "mortal" aspects of his 
music. There is detailed and thorough attention to all of Brahms's works, so that 
the student may be assured of finding succinct and concrete discussion of whatever 
composition he may be interested in. And whether or not one may have some 
definite purpose in consulting this volume, it merits examination and study as an 
unusually fine example of music criticism and biography. 

BEETHOVEN'S QUARTETS. By Joseph de Marliave. With an Introduction 
and Notes by Jean Escarra and a Preface by Gabriel Faure. Translated by Hilda 
Andrews. Oxford University Press. 

AS THE first book devoted entirely to a survey and study in detail of the quartets 
/ \ of Beethoven, this volume will naturally be important to all students of 
chamber music and of Beethoven as well. First published in French, it is 
the result of a French officer's passionate love of chamber music and especially of the 
string quartets of Beethoven. However, it is no mere appreciative survey of a 
musical amateur; combined with an enthusiasm and freshness of viewpoint so often 
lacking in the pedant and musicologist, there is here the careful knowledge of facts 
and incisive critical faculties of the informed and expert specialist. Bringing a back- 
ground of thorough understanding of the genre from its source and evolution from 
the unaccompanied madrigal to the quartets of Haydn, and of the art of Mozart 
and other early models and predecessors of Beethoven, M. Marliave was entirely 
capable of approaching the study and analysis of Beethoven's own colossal contribu- 
tion of sixteen quartets ranging almost the entire possibilities of utterance in this 
medium. The critical knowledge of the author, together with his aesthetic enjoy- 
ment of the music he is discussing, has made this book a more than adequate means 
of approach to a difficult and imposing field of music. 



A. Knopf. 

IN HIS brief but amply detailed and illustrated volume, Mr. Trend has written 
what is the first and, thus far, only definitive work on this most interesting of 

contemporary Spanish composers, as well as one of the most original and im- 
portant figures in modern music. The author brings not only the authority derived 
from long and intimate personal acquaintance with the composer, but also eager 
enthusiasm for his music, for he ends his short preface by referring to his enjoyment 
of Falla's music — "musical experiences which (when I look back on them) have 
been more intense than those derived from any other contemporary music". 

The aim of the author is less to record detailed facts of the composer's life thus 
far than to approach his music critically and ascertain the intentions suggested therein, 
describe his methods, and indicate his achievements. A difficult task to carry out 
with any composer, it is especially so with one like Falla, complex, many-sided, 
elusive, and colorful. Mr. Trend's expositions are for the most part clear and 
concrete, accompanied with much musical quotation from the works discussed, and 
with the utmost pains taken to present clearly topical and national ideas. There 
are first general considerations on Spanish music: the "Spanish style", the work of 
Pedrell, and the so-called "renaissance" of Spanish music. After personal observa- 
tions on Falla, there follows a survey of the important works, chapter by chapter: 
La Vida Breve, the Noches, El Amor Brujo, Fantasia Betica, The Three-Cornered 
Hat, The Puppet-Show, and the Harpsichord Concerto. A last chapter considers 
Falla in relation to such contemporaries as Albeniz, Granados, Debussy, and others. 

STORIES OF THE QUE AT OPERAS, II. Mozart to Thomas. By Ernest New- 
man. Alfred A. Knopf. 

CONTINUING with the series of "Stories of the Great Operas" begun so 
auspiciously last year with Volume I devoted to Richard Wagner, Mr. 
Ernest Newman in his second volume treats of five great composers of operas, 
Mozart, Beethoven, Rossini, Weber, and Thomas. In a third and concluding 
volume the well known music critic and essayist will carry the work down to the 
present century. 

Approximately forty pages of each section are devoted to resumes of the lives 
of the five composers discussed, summaries which not only are miracles of condensa- 
tion and perspective, giving the important facts of each man's life, against a back- 
ground of family and environmental influences, but also provide special interest to 
the opera student in gathering together the principal events of importance in the 
production of the composer's operas. Then follow admirable summaries of the 
operas discussed, act by act, with an abundance of music quotation and simple, non- 
technical analysis of themes, structure, and the like. Of Mozart's operas, Mr. 



Newman discusses in detail The Marriage of Figaro, Don Qiovanni, and The Magic 
Flute. Beethoven is represented by his Fidelio, of course, and Rossini by The Barber 
of Seville and William Tell, while Weber's Der Freischutz and Ambroise Thomas's 
Mignon round out the book. 

What marks this volume apart from the many standard reference books on operas 
is the distinction of Ernest Newman's style which always interests and entertains, 
and the keen discrimination of his mind which strips away irrelevancies and presents 
in true proportions the essential design of the material in his hands. There is today 
no one writing critically or biographically of music and musicians who combines 
the knowledge and discernment with personal charm and clarity of style as does the 
famous critic of the London Sunday Times. 

BRITISH BALLADS FROM MAINE. The Development of Popular Songs 
With Texts and Airs. By Phillips Barry, Fannie H. Eckstorm, and Mary Winslow 
Smith. Yale University Press. 

PRIMARILY intended for the student of folk balladry and folklore, this good- 
sized but essentially readable volume will interest a more general audience. 
Using the ballad versions included in Professor F. J. Child's famous collection, 
the authors of this work have recorded the changes and development in the English 
ballads found in Maine, including texts and airs both. Researches in Texas, Missouri, 
Virginia, and West Virginia, the Carolinas, Kentucky, and Tennessee have refuted the 
once current dictum that the British ballad, as the rightful heritage of young America 
from Great Britain, was extinct; the present volume presents the first fruits of an 
investigation of folk-song and music in Maine, which the editors consider a mere 
"scratching" of the surface. Compared with the Southern ballads, the Maine texts 
are remarkably well preserved and indicate that the singers in this region are for 
the most part well educated people. 

ALLA BREVE. From Bach to Debussy. By Carl Engel. G. Schirmer. 

A SECOND edition of a work first published several years ago, this invaluable 
little book can well be recalled to the attention of music students. Com- 
prising twenty essays on as many composers from Bach to Debussy, together 
with an Introduction and a Conclusion, it is a stimulation and compact survey not 
primarily of the history of music or musicians, but of the progress of listening to 
music. The author includes sufficient biographical data to provide a necessary back- 
ground for approaching the composers discussed, but he is primarily interested in how 
their music sounded and what judgments our ears would make on hearing their works. 

{[55 5 

Music Calendar 

November 15-30 

15 — Philadelphia Orchestra, Academy of Music, afternoon. 
16 — Philadelphia Orchestra, evening. 

17 — London String Quartet, Bellevue-Stratford Ballroom, afternoon. 

19 — New York Metropolitan Opera Company, Academy of Music, 

20 — Philadelphia Chamber String Simfonietta, Bellevue-Stratford Ball- 
room, evening. 

20 — Harriet Van Emden, soprano, Casimir Hall, evening. 

20 — Alexander Kelberine, pianist, Academy of Music Foyer, evening. 

21 — "Rheingold", Philadelphia Civic Opera Company, evening. 

22 — Philadelphia Orchestra, Denyse Molie, pianiste, afternoon. 

22 — Curtis Orchestra, Carmela Ippolito, violinist, broadcasting, evening. 

23 — Philadelphia Orchestra, Molie, evening. 

24 — Florence Austral, soprano, and John Amadio, flautist, Penn Athletic 

Club, evening. 
25 — Maxim Karolik, tenor, Academy of Music Foyer, evening. 
25 — Students of Alexander Lambert, piano recital, Casimir Hall, evening. 
26 — New York Metropolitan Opera Company, evening. 
27 — University of Pennsylvania Glee Club, evening. 
28 — "Lakme", Philadelphia Grand Opera Company, evening. 
29 — "Boris Godounow", concert performance by Philadelphia Orchestra 

and Mendelssohn Club, afternoon. 
29 — "Trovatore", Apollo Grand Opera Company, Metropolitan Opera 

House, evening. 
29 — Charlotte Simons, Swastika Quartet, with Joseph Levine, broadcast- 

ing, evening. 
30 — "Boris Godounow", Philadelphia Orchestra and Mendelssohn Club, 




December 1-15 

1 — Musical Art Quartet, Casimir Hall, evening. 

2 — "Boris Godounow", Philadelphia Orchestra and Mendelssohn Club, 

2 — Students of Lea Luboshutz, violin recital, Casimir Hall, evening. 
3 — New York Metropolitan Opera Company, evening. 
4 — Beethoven's "Missa Solemnis", Brahms Chorus. 
4 — Lynnwood Farnam, organ recital, Casimir Hall, evening. 
5 — "Faust", Philadelphia Civic Opera Company, evening. 
6 — Philadelphia Orchestra, Nathan Milstein, violinist, afternoon. 
7 — Philadelphia Orchestra, Milstein, evening. 

8 — Aguilar Lute Quartet, Penn Athletic Club, evening. 

8 — Philadelphia Orchestra, broadcasting, afternoon. 

9 — "Masked Ball", Philadelphia Grand Opera Company, evening. 
10 — New York Metropolitan Opera Company, evening. 
11 — Lea Luboshutz, violin recital, Casimir Hall, evening. 
12 — "Die Walkiire", Philadelphia Civic Opera Company, evening. 
12 — Pennac Capers, Penn Athletic Club, evening. 
13 — Philadelphia Orchestra, afternoon. 

13 — Arthur Hice, pianist, Academy of Music Foyer, evening. 
13 — Philadelphia Orchestra, evening. 

15 — Lener String Quartet, Bellevue-Stratford Ballroom, afternoon. 
15 — Pennsylvania Museum Concert, at Fairmount Park, evening. 





THIS publication is set in monotype in Italian 
Old Style, one of the most recent type faces 
designed by Frederic W. Qoudy. Each letter of 
this distinctive and legible series retains the 
chief characteristics of the letters used by John 
and Vendilin de Spira, the foremost Venetian 
printers of the fifteenth century, which authorities 
agree have never been surpassed for their grace- 
fulness of proportion and beauty of design. 








which decorate these pages were furnished 
by William H. Hoedt studios from photo- 
graphs of architectural details in The 
Curtis Institute of Music, woodwork 
designed by Horace Wells Sellers 
and metalwork designed by Samuel 
Yellin. The pen and ink 
sketches were contributed 
by William Strasser. 



The Monthly Publication of The Curtis Institute of Music 



rlttenhouse square 
Philadelphia, Pennsylvania 

Vol. I— No. 3 December, 1929 





Editorial Comment 61 

America's Taj Mahal Edward W. Bok 63 

Commemorating a Great Master -Josef Hofmann 71 

A Singer Speaks Emilio de Qogorzct 72 

The Piano and Its Advantages David Saperton 74 

Student Activities 76 

Faculty Activities 78 

Radio 80 

The Library 81 

Glimpses of the Institute 

II. Casimir Hall 83 

Music Calendar 84 


Marcella Sembrich, Head of Department of Voice 60 

The Mountain Lake Singing Tower 62 

Pen and Ink Drawing William Strasser 73 

Casimir Hall 82 

Permission is granted to reproduce parts of this magazine provided due acknowledgment is made to Overtones 
Copyright 1929 by The Curtis Institute of Music. Printed in the United States of America 


MARCELLA SEMBRICH, Head of Department of Voice 


Editorial Comment 

ampanology — what is it? A new word to most of us, there 
undoubtedly will be queries from those coming upon it for 
the first time. It is the name which has been adopted for the 
latest course to be added to the curriculum of The Curtis 
Institute of Music, a course of instruction in carillon playing which will 
be offered this season to our organ students and to acceptable new 
applicants. Announcement has been made that such organists will study 
with Anton Brees, for a six weeks' course, beginning January second and 
continuing until April tenth, at the Singing Tower in Mountain Lake, 
Florida. Anton Brees is the celebrated carillonneur of Malines, Belgium, 
who is recognized as one of the leading authorities on Campanology. 
During the past five years, Mr. Brees has opened many of the important 
carillons in America, while at present he holds the position of bellmaster 
at the Mountain Lake Singing Tower in Florida for the winter season 
and is engaged at the Scottish Rite Temple in Indianapolis during the 
summer months. Students will learn the rudiments of bell playing upon 
a practice-clavier in the Singing Tower. They will be allowed to use the 
actual bells when their progress shall warrant such promotion. The 
unique Singing Tower was conceived and erected by Mr. Edward Bok 
who very kindly offered the use of its Carillon to the students of Cam- 
panology of The Curtis Institute. We are furthermore indebted to Mr. 
Bok for permission to reprint his illuminating and interesting article, 
"America's Taj Mahal", which appears in this issue of Overtones and 
which provides a detailed account of the creation of the Bird Sanctuary and 
the erection of the Tower. Other editorial acknowledgment and appre- 
ciation accompanies this article. 

Two OUTSTANDING recent events greatly appreciated by members of 
the school have been the lecture by Olin Downes, on November 25, 
on the two versions of Mussorgsky's Boris Qodunof, and the special 
concert by the Musical Art Quartet of New York, on December 1, 
tendered by Mrs. Bok. 



Americas Taj Mahal 


N Friday, the first day of February, 1929, the President of the 
United States will journey, unless public business interferes, 
from Washington to Mountain Lake, Florida, to dedicate and 
present, for visitation, to the American people*, the most 

beautiful spot of verdure in the United States, which five years ago was a 

dreary sandhill devoid of growth and beauty. 

There was little or nothing to encourage the landscape-architect in 
this sandhill when half a decade ago Frederick Law Olmsted was given 
the commission to change this dreary spot into a spot of beauty second to 
none in the country. There were but two natural advantages : the presence 
of a hundred virgin pine trees and a natural elevation of 324 feet above 
the level of the sea. But Florida has no equal in the reward which it 
offers and gives to the planter of flower, shrub, and tree, and this Mr. 
Olmsted knew. He had laid out Mountain Lake Park, of which this 
spot was a fourteen-and-a-half acre part. He knew that the problem of 
Florida was water, and for a year he did nought but dig trenches and lay 
water-pipes, so that the entire acreage would be irrigated and water could 
be distributed from every point in the proposed Sanctuary. For a natural 
sanctuary it was to be, beautiful but reposeful and full of the spirit of a 
quiet, lovely place. 

After a year of providing irrigation the landscape-gardener began to 
plant. This planting was to be, in character, Floridian, and largely to 
consist of bushes with berries suitable for the transmigratory birds which 
flew over Florida twice a year in their flight from the frozen North to 
Cuba and the West Indies, where thousands of birds lost their lives from 
exhaustion on their long migration. The verdure to be planted grew in 
the swamps and lowlands of Florida, and the miracle to be performed was 
to transplant this verdure from its moist habitation to dry, high ground. 
But Mr. Olmsted knew this was a question of water, and this saver of 
the green growth was in the Sanctuary, with its spigots every hundred feet. 

*This dedication and presentation, it is scarcely necessary to add, took place at the 
time Mr. Bok mentions. His article is reprinted from the February, lgzg issue of 
Scribner's Magazine to which acknowledgment with appreciation is made, as well as 
to the Ladies' Home Journal through whose courtesy the color plate is reproduced 
from its May, igzg issue. — (Editor's Note) 

163 1 


The planting was now begun, and it was decided that it should be of 
large specimens: blueberries and gall-berries shoulder-high, and magnolia, 
gordonia, suriname cherries, and live-oak trees from ten to forty feet high. 
This called for the most careful transplanting from distances of five to 
forty miles away. It was also decided to plant closely, so as to allow for 
a generous loss in changing the shrubs and trees from a damp to a dry 
location. For five successive years this transplanting went on, and so 
successfully was this accomplished that the loss throughout the Sanctuary 
was less than one per cent, the result being due to care in planting and a 
continuous watering. When success was demonstrated, the experiment 
of transplanting flowering trees and shrubs was entered on, and thousands 
of dogwood, wild-plum, acacia, and currant were transferred. A lower 
color effect was attempted by the planting of 8,000 azalea shrubs and 
groups of iris and lily. The result was here equally successful. It is not 
an unusual experience to transplant a tree barren as a telephone pole and 
have it blossom into leaf within three weeks, and have a fully leaved 
tree within six months. Of course such a result is achieved by the addition 
of a black soil to the sandy deposit, and thousands of loads of a rich black 
soil were drawn into the Sanctuary to help the transplanted green growth, 
with a thorough watering added each day. 

Today the Sanctuary is complete so far as its planting is concerned, 
and its visitors are amazed at a scene which looks more like a planting 
fifteen years old. Each year there is added four feet to some of the planting 
—a reward which no other state in the Union gives to its planters. Two 
lakes were dug and added, and from their banks the impression is con- 
veyed that they have always been there, whereas one is four years old and 
the other a little over a year. In these ponds teal-ducks, the colorful 
wood-ducks, and the only flamingoes in the United States live and add 
an interest to the water. A wonderful panorama of a forty-mile view 
which gives the visitor the impression that he is in hilly Vermont rather 
than in flat Florida was made accessible to the visitor by the change from 
a sharp sandy declivity to a filled-in plateau more than an acre in extent, 
covered with a grass base suggesting the perfect lawn of a private residence, 
with live-oaks picturesquely planted at different points. The mammoth 
pine-trees were used and transformed into flanking sentinels for beautiful 

164 1 


vistas of long-distance views toward the Gulf of Mexico and the Atlantic 
Ocean; soft, shaded, grass-covered walks abound and lead to every part of 
the Sanctuary; the colors of the azalea enliven every path; the unusual 
and superb song of the nightingale, imported from England, and nowhere 
else to be heard in the United States, is heard in the paths adjacent to the 
aviary; while the myriads of birds who have quickly found the haven 
where they could rest, bathe in the fifty or more shallow bird-baths pro- 
vided, and eat the millions of berries offered as their food, fill the air with 
song. It is nothing unusual to hear the mocking-bird, the thrush, the 
robin, the Kentucky cardinal, the bob-white, the blue jay, the towhee, 
the warblers, all singing and whistling in concert, producing a combination 
of note and song entrancing in its effect. 

In short, the miracle, which so many discouraged at the outset, of 
transforming a hill of sand into the most beautiful spot of its area in 
America has been accomplished, and fills the visitor with amazement 
and admiration. 

It was while this transformation was going on and its practicability 
being demonstrated that the decision was arrived at that the rest of the 
dream could also be realized : the erection of the most beautiful Carillon 
Tower in the world, with a carillon of bells second to none in the United 
States or Europe. Hence, the other half of the "mountain", as it is 
called, — for it is, according to the United States governmental survey, the 
highest spot of land in Florida and also the highest between Washington 
and the Rio Grande within sixty miles of the Gulf or Ocean, — was 
purchased as the ideal location for a sylvan surrounding for such a tower. 
It was likewise unequalled in its proper height to give the necessary sweep 
for the sound of the bells, which under other conditions would require a 
height of 500 feet. But here nature had provided a height of 324 feet, 
so that a tower of 205 feet was all that was necessary, with a surrounding 
country noted for its quietful repose and an atmosphere known for its 
resonance. But, to further insure this quiet from the horn of the auto- 
mobile, some 25 acres of surrounding land were added, so that the Tower 
would stand in the middle of an area of 50 acres, with a protection of 
more than two city blocks from the nearest point of access of the 



The commission for the Tower was given to Milton B. Medary, of 
Philadelphia, for a tower to be as beautiful as that at Malines, Belgium, — 
the inspiration for architecture for over 400 years, — but adapted to the 
gentler and warmer climate of Florida. Mr. Medary* worked for months 
at sketches until he was himself satisfied with the final Gothic example 
he produced. How beautiful is his conception may best be proven by the 
fact that every travelled visitor who sees it now, in its completed state, 
is immediately reminded of the Taj Mahal, in India, and unhesitatingly 
ranks it with that world-renowned tomb, both in its whole and its detail 
of stone and its wealth of sculpture as designed and executed, in this 
instance, by the sculptor, Lee Lawrie. 

In order that the enormous weight of the Tower — 5,500 tons — might 
have a sufficiently stable basis on which to rest, there were sunk into the 
ground 160 reinforced concrete piles, varying in depth from 13 feet to 
24 feet under ground, with a concrete covering mat 2 feet 6 inches thick. 
The Tower rises from its foundation base of 51 feet to a height of 205 feet, 
changing its form by graceful lines at the point of 150 feet until it becomes 
octagonal, measuring 37 feet at the top. Its 8 windows are of Gothic 
lace pattern worked in faience, each window of a height of 35 feet, behind 
which are suspended the bells. The first structure was of steel construction 
to the top, then a brick wall beginning at the base 4 feet 4 inches thick, 
and finally, as the outer covering, a layer of the most beautiful pink 
marble from the Georgia Marble Quarries, with the base up to 150 feet 
of native Florida coquina rock, — tan in its color, — the same as was used 
by the Spaniards in the old fort at Saint Augustine. It is the perfect 
blend of these mixtures of stone that gives the Tower its soft and un- 
believable tone of beauty, particularly at sunrise when the rising orb 
fairly bathes the pink marble and brings out its marvellous tone. The 
same is true in the ruby glow of the setting sun. 

Just as the sculptural work of the European singing towers is reminis- 
cent of the history of the country and its local legends, so is the sculptural 
work of the Mountain Lake Singing Tower suggestive of Florida and its 
neighboring life and legend. The first sculpture work is above the main 
door leading into the Tower, and represents the crane, the heron, and the 

*Mr. Medary is noiv deceased, having passed away last summer. — (Editor's Note) 

E66 1 


flamingo of Florida. This band is sculptured around the entire Tower. 
The first windows, 130 feet high, have a grill of colored faience of under- 
sea life, such as the sea-horse and jelly-fish, which as it rises develops the 
creation of life in light, flower, and fauna in richly colored faience in the 
large windows of the bell-chamber, the whole culminating at the top with 
nests of birds in the tree-tops. Two-thirds of the way to the top, where 
in European singing towers would be found the gargoyles, it is embellished 
by the American eagle. The main door leading into the Tower is, in 
reality, a museum piece, hand-wrought, in golden bronze, depicting the 
creation of all forms of life in 24 hand-wrought panels — the work of 
Samuel Yellin, the well-known iron-worker. 

The question is asked by many visitors: "Why the name 'Singing 
Tower' ? " 

This definition comes from the Netherlands, and is the traditional 
name of a carillon tower. From early medieval times, in the Netherlands, 
Belgium, and the north of France, watch-towers were erected from which 
sentinels could see the flooding of the dikes or the coming of invaders. 
In such a crisis the blowing of a horn by the watcher would summon the 
people to the threatened danger. 

Gradually a bell replaced the horn. Then clocks were introduced into 
the towers, and bells were struck to mark the passing of the hours. More 
bells were added; then chimes, on which simple tunes were played at the 
quarter-hours, and more fully before the big bell struck the hour. Slowly 
through the succeeding centuries still more bells were added, until in the 
seventeenth century that majestic instrument, the carillon, was evolved. 

These towers were of great national importance in the community 
life, calling their people to war, to peace, to prayer, to work, and to feast. 
As each country saw its national history reflected in the architecture of the 
tower, as well as in the music of the bells, both became a single unit to its 
folk and known as a "singing tower." When you hear the carillon at the 
Sanctuary send out its glorious melodies from the Tower's heights you lose 
the idea of the Tower as just a building, or of the bells as bells. Instead 
you feel the whole unit alive, a wonderful singing force, the noblest 
expression of democratic music, a true Singing Tower. 



Another question often asked is: "What is a carillon? " 
The word "carillon" is really a misnomer, being the French equivalent 
for chimes, whereas what we know today as a carillon has absolutely no 
resemblance to a set of chimes. 

An exact definition of the term demands too many details of the 
technic of tower music. Perhaps it is enough to say that a carillon is a 
set of bells tuned to the intervals of the chromatic scale (that is, proceeding 
entirely by half-tones, the compass being three octaves or more), the lowest 
bell being often many tons, so that in the highest octaves the weight of 
each bell is but a few pounds and all the bells hang "dead" or fixed — that 
is, so as not to swing. 

Many people confuse a carillon and a chime. 

Whereas a chime, ring, or peal is a set of bells not more than 8, 10, or 
12 in number tuned to the notes of the diatonic scale (that is, proceeding 
by a definite order of tones and half-tones), the carillon is played on a 
keyboard or clavier, similar to an organ or piano. In the Mountain Lake 
Singing Tower there is installed an additional automatic keyboard which 
plays automatically from rolls the same as the Duo- Art rolls on an organ. 
This is an emergency adjunct in case of the illness or absence of the 

Inside the Tower one enters into a private room created for the owner, 
superbly made, as is the outside of the Tower, entirely of pink marble 
and coquina rock, with two large windows beautifully carved above the 
glass, an elaborate carving over the open fireplace, and a superb treatment 
of the most delicately traced ironwork in the way of stairs leading up 
into the Tower for those who choose to walk. But there is also an elevator 
for those who prefer to ride the Tower's 205 feet — the equal of a 20-story 
skyscraper. Above the private room the utilitarian enters, by the intro- 
duction of two thirty-thousand-gallon water-tanks, insuring the Sanc- 
tuary's private water-supply drawn by electric power from Mountain 
Lake, a few hundred yards distant. Above these tanks is the bell-master's 
room, where is the playing console, and above that the bell-chamber, 
which is thirty-five feet high. 

168 1 


The carillon of bells is the largest ever cast by the Taylor Foundry at 
Loughborough, England. It consists of 71 bells with 48 tones, or four 
octaves, the 18 upper tones being duplicated and ringing two at a time 
so as to avoid the inevitable tinny sound of small bells. The largest bell, 
the tenor bell as it is called, weighs 11 tons, or 23,400 pounds; the smallest 
bells weigh each 17 pounds. 

A 15-foot-wide moat, suggestive of Old World castles, surrounds the 
Tower, with pockets of earth in the inner side of the walls, so as to allow 
of rock plants being introduced. 

A year ago over 300 live-oak trees from 20 to 40 feet high were lifted 
from a grove 30 miles away and planted around the Tower. These trees 
are already in their evergreen luxuriant leafage, and will in time form an 
over-arching effect so that the Tower will rise out of a dense forest of 
everlasting green. 

Between the Tower and the moat is a majestic series of palms, which 
were obtained from the grounds of an old residence where they were 
brought in seed from Honduras by an old sea-captain, and are now softening 
the corners of the Tower. These palms are already 40 feet in height, the 
constant wonder being the height and width of girth of the trees you can 
transplant in Florida, invariably with gratifying success. 

In front of the Tower a reflection lake has been made, presenting a 
complete picture of the majestic piece of architecture at the feet of the 
visitor. This lake of reflection heightens the comparison of the Tower 
with the Taj Mahal, as does the coquina stonework, which is of the same 
color-note and texture as that of the Indian masterpiece, with its wealth 
of sculpture equally generous and of similarly glorious beauty. 

The purpose of it all? Simply to preach the gospel and influence of 
beauty reaching out to visitors through tree, shrub, flowers, birds, superb 
architecture, the music of bells, and the sylvan setting. And a restful, 
quiet, beautiful spot where visitors may feel, as the sign at the entrance 
declares by an extract from John Burroughs: 

1 69 1 


"I come here to find myself. It is so easy to get lost in the world." 
That is what thousands of visitors are doing each week now: tired 
and exhausted from the world, they are seeking and finding repose and 
quiet amid the stillness and beauty of a marvellously conceived and 
beautiful Sanctuary. 

But why, it is often asked, was it placed in Florida, and not in the 
North? Because there is nowhere in the North a spot which is destined 
to be preserved for so many years in its present sylvan simplicity and 
beauty; because the gentle climate gives a reward in green growth impos- 
sible in the colder North; and because the character of the Sanctuary and 
the magnificence of the Tower will draw, in Florida, the same number of 
visitors as if it were in the North. The winter-tourist traffic in Florida is 
increasing year by year, and to such visitors the Mountain Lake Sanctuary 
will in increasing numbers become a Mecca for visitation; and where to 
thousands each week it has already become an objective that is liable to 
grow into the tens of thousands. At each recital of the carillon there are 
already found hundreds of parked automobiles, with visitors listening to 
the soft musical quality of the bells. The question is not how will people 
be attracted to the spot, but rather how many automobiles and persons 
will it be possible to accommodate at each recital. 

The bells are played at sunset each day, when on account of the quiet 
of the park the music is played to the greatest advantage, with an extra 
recital at the noon hour each Sunday and on each recurrent Washington's, 
Lincoln's, and General Lee's birthday, with a special programme suited 
to the day, as well as on Christmas Eve and at midnight of the old year 
on New Year's Eve. Anton Brees, the Belgian bell-master, is in residence 
at Mountain Lake from December 1 to May 1, and presides at all of 
these recitals. 

Where is Mountain Lake? In the centre of inland Florida midway 
between the Gulf of Mexico and the Atlantic Ocean, 67 miles from each. 
The nearest town is Lake Wales, one-and-one-half miles distant, from 
which a driving boulevard directly leads to the entrance of the Sanctuary. 

170 1 

Commemorating a Great Master 


nton Rubinstein! The master — my master — who did things 
in such a simple way and yet in such a beautiful and enlightening 
manner! If simplicity is truth — and there can be no doubt 
of it — Rubinstein was the legitimate exponent thereof. "Play 
as the music before you indicates," he usually said, "y et > if you can improve 
upon it, do so; but only after you have done full justice to that which the 
composer has indicated in his musical script. Not Fortes, Sforzandis, 
Pianos, Diminuendos, Crescendos and the like, but the actual value of 
musical graphics — lines — such as are found in the sister-arts, sculpture 
and painting." 

How simple this doctrine sounds! Yet it takes a lifetime to under- 
stand it and to convert this principle into a thing of dynamic force and 
kinetic energy — something that is alive, musically, and bearing the 
stamp of conviction. It was ten years after leaving Rubinstein before 
I fully benefited by what he had given me in the way of musical instruc- 
tion. I mention this because it may help others, especially those of the 
present generation, to put a damper on their zeal for a premature, too 
quick, slap-dash achievement. Things that are worthwhile and which 
are to last, mature slowly. 

Rubinstein seemed always to have plenty of time; enough for study, 
and even for leisure. People of skill never hurry : they move slowly but 
efficiently. With them, every move counts: every move made is in 
the right direction. 

This physico-mechanical principle also applies to musical instruments, 
and even to the voice; it is only by recognizing and appreciating this fact 
that students can become masters. Genius is given to few. Most of us 
must acquire our skill. Rubinstein was a born Genius. All that he did 
was done instinctively, which, of course, is far superior to procedure by 
rule or instruction because it is vital. 

How many Rubinsteins are born in a century? In the last there was 
but one — Anton. Those who had the privilege of knowing him artis- 
tically and personally will never forget the great master of musical 
expression. Glory to his name and everlasting peace to his soul! 


A Singer Speaks 


Editor's Note : This article and the one immediately following have been 
submitted by way of reply to the Open Letter of the Director which appeared 
in the November issue of Overtones. Similar articles by other faculty 
members will be printed in the numbers to follow. 

HE REASONS which induced me to give preference to one form 
of self-expression rather than to another in music were due to 
a series of circumstances over which I had no control. At 
school, my voice and instinct for singing and music attracted 

the attention of the choir master and as I grew up, singing and music 
became an obsession. Later in life, the shortcomings of an organ, which 
gave little promise, made me wish I had continued my studies for the 
piano, the literature of which profoundly appealed to me. But by constant 
practice and with time, as well as faith in my future, the voice developed 
sufficiently so that I was able at last to express myself through this vehicle. 
To be truthful, it was only my enthusiasm and vocation that gave me 
the courage to go on, for at every turn I was discouraged to continue as 
my voice was considered too insignificant to warrant the experiment. 

For a while "Eternal listening" was my lot, which was most beneficial 
and which served to stimulate my desire for self-expression and developed 
my musical and artistic vision. The work before me seemed unending, 
as it is, but as I went on I realized the blessing of possessing a voice, even 
one that did not allow me to sing the works that appealed to me and for 
which, alas! I was too immature to interpret satisfactorily. 

As time went on, I did not regret my chosen medium of expression, 
for in my opinion it is unsurpassed in expressing the emotions of the 
heart and all the human and inhuman passions, as well as the highest 
spiritual aspirations. The voice, 'tis true, is not so dependable as other 
musical instruments, but on the other hand, singing has the advantage of 
words, facial expression and, in opera, of gesture. The timbre of a voice, 
for example, is often able to arouse emotions in the listener, even in a 
vocalist, which is seldom in the power of an instrument to evoke. Adelina 

172 1 


Pacti used to say, "A beautiful voice is the gift of God" — a truism which 
can hardly be disputed. 

My interest grew more and more as I went on and although I had 
innumerable offers in other channels foreign to my art, I was held fast 
by my passion for vocal research and artistic development. The life's 
work goes on and every day I am thankful, for my greatest happiness 
remains in my work. 

Simplicity, directness, a warm heart and a cool brain, respect for the 
composer, as well as for the period he is interpreting, should be the goal 
of the singer. Success can be acquired by other means which are hardly 
to be encouraged but which also bring fame and fortune, as well as — 
artistic disgrace. 

Work, faith in our star, the cultivation of our minds, the constant 
striving for self-control, the knowledge of our limitations and above all, 
an unswerving artistic conscience should be our creed. The reward will 
be, among other things, to gain the respect of the discriminating and to 
live up to the standard of an ideal; this must ever be present, and that 
ideal should be not only to strive for better things always, but to bring 
a message of enduring worth. 


173 1 

The Piano and Its Advantages 


T IS SAID "We like most to do that which we do best." 
Assuming this to be a truism, and never before having inter- 
rogated myself on this subject, I suddenly awakened to the 
realization, through encouragement and recognition, that I am 
a pianist. I say through encouragement and recognition because, in 
youthful years, our analytical and reasoning faculties not yet being mature, 
we mostly become aware of a given condition through reaction. 

Having arrived at this consciousness, I further found that, as a solo 
instrument, the piano is the most satisfactory medium of musical expres- 
sion. On the piano can be produced all polyphonic, polyrhythmic, and 
polydynamic combinations. Therefore, complete and satisfactory musical 
expression can be given utterance to, in a solo capacity, on this remarkable 
instrument, as on no other. 

Over collective groups, the piano has the advantage of mechanical 
dependability, ever-readiness, and easy availability; over the organ, the 
same advantages plus infallible articulation and flexibility in rapid move- 
ments, complex counterpoints, and staccato playing. 

To singers, players of one-voiced instruments, and players of string 
instruments of limited polyphonic possibilities, the piano is of paramount 
importance in studying and presenting the complete musical picture. 
To conductors, it is the most practical aid in reading and studying scores; 
to composers, a ready means for confirming aurally what is conceived 
mentally. In the case of an orchestral composition, the piano can naturally 
only serve as a makeshift medium; nevertheless, it is the only easily 
available substitute. 

To what extent creative musical genius has given preference to the 
piano as a means of musical expression, the voluminous, varied, and 
important literature for this instrument attests. 

174 1 


The practicability of the piano does not, however, lessen the importance 
of any of the other means of art expression. Every phase of art has its 
undeniable and indestructible place as an expression of a given epoch and 
as a factor in the forging of man's cultural evolution. 

Whatever the medium of expression may be, it is certain that only 
that art is enduring which includes as part of its sum total, order and 
perfected detail, — and in making this statement, I know this is not 
approved of by the so-called Expressionists and those young and ambitious 
but misguided ones who shirk the drudgery of self-imposed discipline. 
For, order there must be, in like manner as there is order and ordered 
cause and effect in nature and the universe. 

Since, in the technique of composition, order may be qualified as 
good "Form" when embodying the elements of unity, variety, and sym- 
metry, it follows that these same elements may be symbolized in interpre- 
tation : unity as the predominance of the central idea or principal concept, 
variety as that element providing contrast, and symmetry as the balance 
between variety and unity. 

Therefore, in the technique of performance, order may be qualified 
as the balanced apportionment and correct application of every known 
interpretative means at the command of the performer, when used sub- 
serviently to all that is indicated by the structural design, compositional 
devices, and editorial marks of the composer. 

In general and where the composer has not left any definite indications, 
or has neglected to assume the arduous task of indicating with finality and 
in detail his intentions, the performer may be guided in arriving at inter- 
pretative decisions by comparison of editions, the study of available 
commentary and existing tradition, and the application of cumulative 
specialized technical knowledge; finally tempering all this with his own 
trained musical instincts, a wide human understanding, artistic intuition 
and individual preference. 

II 75 1 

Student Activities 


HE third in the present season's series of Students' Concerts was 
that given on November 25 by piano students of Alexander 
Lambert. Jennie Robinor played Mendelssohn's Phantasie, 
Opus 28, Bach-D'Albert's Prelude and Fugue in D major, 
Chopin's Nocturne in D flat major, Opus 27, No. 2, and the Liszt-Busoni 
arrangement of La Campanella. Frances Shelton performed the Con- 
certstiick in F minor, Opus 79, by Weber. 

Students of Madame Luboshutz appeared in the Fourth Concert on 
December 2. Judith Poska gave a first performance of Thomas Vincent 
Cator's Sonata in G major, a first performance in America of the Allegro 
moderato movement of Emil Mlynarksi's Concerto in D minor, Opus 11, 
and other compositions by Glazounov, Franz Ries, and Heinrich Ernst. 
Celia Gomberg played Nardini's Concerto in E minor (with the accom- 
paniment arranged for String Orchestra by Jay Savitt and performed by a 
student group conducted by Louis Wyner), and also Chausson's Poeme. 
Theodore Saidenberg and Joseph Rubanoff assisted at the piano. 

On the afternoon of December 5 students of Mr. Bailly in Chamber 
Music performed the Vaughan Williams Quartet in G minor and 
Beethoven's Quartet in F major, Opus 18, No. 1. Those who participated 
were the Swastika Quartet and the new "Casimir" Quartet, in its first 
public appearance, made up of Leonid Bolotine, Paul Gershman, Leon 
Frengut, and Tibor de Machula. 

A Sixth Students' Concert on the afternoon of December 12 presented 
interesting Chamber Music including Rameau's Concerts for Three 
Violins, Viola, Violoncello, and Double Bass; two Brahms songs for 
Contralto with accompaniment of Viola and Piano; and Beethoven's 
Septet in E flat, Opus 20, for Violin, Viola, Violoncello, Double Bass, 
Clarinet, Bassoon, and Horn. 


Philadelphia grand opera performances in which Curtis voice 
students have participated during the past four weeks were Lahjne, 
given on November 28, in which Albert Mahler, Helen Jepson, Agnes 
Davis, Rose Bampton, Arthur Holmgren, Daniel Healy, and Abraham 
Robofsky sang the roles of Hadji, Ellen, Rose, Mrs. Benson, A Fortune 

II 76! 


Teller, A Chinese Merchant, and A Thief, and the double bill, given on 
December 9, of Cavalleria Rjusticdnd, with Genia Mirska and Rose 
Bampton, and I Pdglidcci, with Albert Mahler and Conrad Thibault. 
Furthermore, by special arrangement with The American Federation of 
Musicians, the student orchestra of The Curtis Institute was enabled to 
perform the orchestra part in Cdvdllerid Husticdnd. 

In the epoch-making performances of Mussorgsky's Boris Qodunof in 
its original version, given on November 29, 30, and December 2 by The 
Philadelphia Orchestra and The Mendelssohn Club of Philadelphia, both 
conducted by Leopold Stokowski, nine Curtis Institute artist-students sang 
in the cast as follows : Feodor, Rose Bampton; Xenid, Natalie Bodanskaya; 
Xenid's Nurse, Paceli Diamond; Andrei Shchelkdlof, Khrushchof, and 
Ldvitsky, Daniel Healy; Missdil, The Simpletoyi, and The Boydr in 
Attenddnce, Albert Mahler; Nikitich, Beniamino Grobani; Mitiukjid, 
Clarence Reinert; A Boydr, Benjamin de Loache; and Chernikpfsky, 
Arthur Holmgren. The effective off-stage choruses were sung also by 
Curtis students. Credit for rehearsing these parts is due Sylvan Levin. 

The Curtis Institute Concert Course continues with the following 
recitals arranged for the first half of January : 

January 9 — Trenton, New Jersey: Tatiana Sanzewitsch, Pianist, 
Arthur Holmgren, Baritone, and Joseph Rubanoff, Accompanist. 

January 12 — The Hill School, Pottstown: George Pepper, Violinist, 
Jeanne Behrend, Pianist, and Max Aronoff, Violist. 

The Swastika Quartet assisted the Orpheus Club in Wilmington on 
the evening of December 5. They also performed the Vaughan Williams 
Qudrtet for the Society for Contemporary Music, of Philadelphia, on 
December 6. 

Jennie Robinor, Pianist, was engaged by Mr. Walter Naumburg (of 
the Naumburg Foundation) to play at a musicale given by him on 
December 4. 

Helen Jepson sang with the Princeton University Orchestra in Princeton 
on December 8 and appeared in a joint recital with Nelson Eddy at Wil- 
mington, Del., on December 14. Florence Irons sang in a radio concert 
given by The Public Ledger on the afternoon of December 8 and in the 
evening sang in a recital in Baltimore, Maryland. 

177 1 

Faculty Activities 


he second Faculty Recital of this season was given on the 
evening of Wednesday, November 20 by Harriet van Emden, 
Soprano, in an interesting programme of songs in which she 
was assisted by Harry Kaufman at the Piano and Alexander 
McCurdy at the Organ. There were songs by Dourlen, Gretry, Purcell, 
Mendelssohn, Mahler, Wagner, Bizet, Fourdrain, Jacques-Dalcroze, and 
Charles-Francois Dalcroze. 

Lynnwood Farnam, Organist, presented the Third Recital, on Decem- 
ber 4, with a programme devoted entirely to compositions of Johann 
Sebastian Bach, many of them of an unusual character and seldom heard. 
These works included the Fantasia in G major, Chorale Prelude My Heart 
is Filled With Longing, Allegro and Largo from Fifth Trio Sonata, 
Chorale and Eight Variations in the Form of Partitas on the Chorale 
O Qod, Thou Faithful Qod, Concerto in A minor, Chorale Preludes We 
All Believe in One True Qod, Comest Thou Now, Jesus, From Heaven 
to Earth?, Qood Christian Men ~Rejoicc, and Prelude and Fugue in D major. 

In the Fourth Recital, on December 12, Lea Luboshutz, Violinist, 
assisted by Harry Kaufman at the Piano and Alexander McCurdy at the 
Organ, gave a programme including Bach's Partita in E minor, works by 
Hofmann-Luboshutz, Ponce-Heifetz, Kreutzer-Kaufman, and Fritz Kreis- 
ler, and the Conus Concerto in E minor. 

Faculty recitals announced to take place before the next issue of 
Overtones are those to be given by David Saperton, Pianist, on January 
9 and Horatio Connell, Baritone, on January 15. 


CONCERTS by Josef Hofmann during early December included a 
private recital in New York on December 4 and two appearances 
with the Cleveland Symphony Orchestra in Pittsburgh, on December 6 and 
7. On January 3 he will play before the Philadelphia Forum, while his 
first public appearance in New York for the season will occur on January 12. 
The latter half of January, February, and part of March will be devoted 
to his Western Tour. 



Lynnwood Farnam gave a recital in Temple Emanu-el, New York, 
on December 13, one of five "opening" concerts given by various 
organists. On December 15 he plays the organ part in the Christmas 
Oratorio being given by the Friends of Music Society in New York, 
while on December 18 he will assist in a League of Composers Concert 
in the New York premiere of the Hindemith Organ Concerto. The 
monthly musical service in the Church of the Holy Communion will be 
given on December 29. Mr. Farnam leaves for his Western Tour early 
in January. 

Efrem Zimbalist gave concerts recently in New York City and 
Haddonfield, New Jersey, on December 11 and 13. A third New York 
concert will take place on the 19th, after which, in January, Mr. Zimbalist 
will make a Pacific Coast Tour for one month. 

Felix Salmond played in New York on December 14, in Town Hall; 
he will appear as soloist with the Boston Symphony Orchestra in Boston 

on December 27 and 28. 

Madame Luboshutz will give recitals in Toronto, Canada on January 
12, Cincinnati on January 14, and in New York, privately, on January 18. 

Carlos Salzedo will appear with the Salzedo Harp Ensemble at the 
New York Philharmonic-Symphony Society's Children's Concert on the 
morning of December 28. This is the first time anywhere that a harp 
ensemble will be listed among the soloists of a symphony orchestra. On 
January 4, the Conductorless Symphony Orchestra will give the New 
York Premiere of Mr. Salzedo's The Enchanted Isle, a symphonic poem 
for harp and orchestra, with Lucile Lawrence as the soloist. 

Dagmar Rybner-Barclay and her husband, John Barclay, will give 
recitals in January in Chicago and St. Louis. 



HE SECOND of a series of twenty half-hour radio broadcasts over 
the Columbia Broadcasting System (Station WCAU in Phila- 
delphia and Station WABC in New York), presented by The 
Curtis Institute, took place on the evening of Friday, Novem- 
ber 29, at 10 :30, when the Swastika Quartet, assisted by Joseph Levine, 
played the first movement of the Cesar Franck Quintet and Charlotte 
Simons, Soprano, assisted by Elizabeth Westmoreland at the Piano, sang 
a group of four songs, Horsman's Bird of the Wilderness, Young's 
Phyllis Has Such Charming Qraces, Leoncavallo's Bird Song from 
"Pagliacci", and Hageman's Do Not Qo, My Love. 

The Third Concert, presented on December 8, included Martha 
Halbwachs, Pianist, playing the Mozart Variations in D major; Rose 
Bampton, Mezzo-contralto, assisted by Sara Newell at the Piano, in songs 
by Carey and Saint-Saens; and Tibor de Machula, Violoncellist, who, 
accompanied by Theodore Saidenberg, performed Leon Boellman's 
Variations Symphoniques . 

On December 13, when the Fourth of these recitals took place, there 
were compositions for Piano, Voice, and Violin. Tatiana Sanzewitsch, 
Pianist, played Toccata and Fugue in D major by Bach, Seguidilla by 
Albeniz, and Chopin's Etude, Opus 10, No. 12; Conrad Thibault, Baritone, 
sang an Old English Melody, The Happy Lover, together with songs by 
George Monro and Gounod; while Judith Poska, Violinist, broadcast 
Glazounow's Qrand Adagio from the Ballet "Raymonda" and Ries' 
La Capricciosa. 


A Fifth Concert, to be broadcast at the same hour and over the same 
stations as the others, will be given on the evening of December 20, when 
three students will participate as follows: Josephine Jirak, Contralto, 
accompanied by Florence Frantz, Pianist, and Max Aronoff, Violist, will 
sing two Brahms songs, Longing at I{est and Cradle Song of the Virgin, 
while Jorge Bolet, Pianist, is to play the Delibes-Dohnanyi Naila Valse 
and two Etudes by Chopin. The first broadcast to follow this will be 
given on January 10. 

180 1 

The Library 


ATTENTION is being called this month to the periodicals on file 
in the Library. Periodicals, both technical and popular, always 
play an important part in reference work. The first class are 
essential to the scholar or the expert, and in the rapid advance 

of modern events are often the only sources of information to be found. 

And the second class, the popular periodicals, are needed in every library. 

There are primarily the most representative musical periodicals: such 
American prints as Diapason (for Organ), Eolus (for Harp), Modern 
Music, Musical America, Musical Courier, Musical Quarterly, Pro 
Musica Quarterly, and others; English publications like Music and Letters, 
Musical Times, and The Organ; from Germany, Allegmeine Musikr 
zeitung, Die Musik, and Signale; from France, La Revue Musicale, 
Le Menestrel, and Le Monde Musicale; the Italian Revista Musicale 
Italiana; while a new addition is the Polish periodical, Muzykd- 

General Periodicals include Architectural Record, Forum Magazine, 
Harper s Magazine, International Studio, Literary Digest, Manchester 
Quardian Weekly, Phonograph Monthly Review, and Theatre Arts 
Monthly. Periodicals new for this year are Sc?'ibner's Magazine, Atlantic 
Monthly, National geographic, Scientific American, Popular Mechanics, 
and Punch. Such current publications as the Cumulative Book Index, 
Library Journal, and Reader s Quide to Periodical Literature are invaluable 
for reference. The newspaper files include 7 he Philadelphia Ledger, 
The New York Evening Post, and The Neiv York Times. 

There are also a number of periodicals and newspapers which are 
received as gifts, from various parts of the country outside of New York 
City. Of interest to students from these sections of the country are the 
Christian Science Monitor (Boston), Music News, Musical Leader, 
Musician, and Violinist (all published in Chicago), and the Pacific Coast 
Musician (Los Angeles). 

Although all of the magazines and newspapers mentioned above are 
in general and frequent use, students are urged to widen their acquaintance 
among them and thereby increase their avenues of information and 



182 1 

Glimpses of the Institute 


T MAY BE OF interest to explain at once, since questioning 
often brings up the matter, that this room, the most important 
unit of The Curtis Institute, has derived its name from the 
Director, whose father's name — and consequently Josef Hof- 
mann's own middle name — was "Casimir". This superb concert hall, 
designed to seat the combined faculty and student groups, and perfect in 
its proportions, adjoins the main building of the school. The entrance by 
which it may be reached from the street is distinguished by its fine doors, 
executed by Samuel Yellin, the well-known iron-worker. A beautiful 
foyer in rose-colored marble leads at once to the concert room, which is 
entered through the curtained doorway shown in the back center of the 
photograph on the page opposite. 

The interior walls, of white mahogany, are panelled up to the arched 
ceiling, while the furniture is finished to match this softly-toned wood. 
The illumination is effected by indirect lighting. The two boxes which 
flank the hall are marked especially by their grilles of elaborately treated 
iron, with interesting center panels representing unicorns. Between the 
mouldings over these boxes and the arch of the ceiling are the screens 
concealing the two organ lofts. The console of the concert organ is to 
be seen in the lower corner at the left of the stage. It is a four-manual 
Aeolian, the gift of Cyrus H. K. Curtis, and is used for students' lessons 
as well as for concerts. The stage is conspicuous for its fine panelling 
and decorations in carved wood. A mechanical feature of great utility is 
the proscenium elevator which facilitates the placing on the stage of 
pianos that are stored on the floor below. This unique room was de- 
signed and produced by the Philadelphia architect, Horace Wells Sellers. 

It is here that The Curtis Institute assembles, often several times a 
week, to listen to concerts by its own members. Unfortunately, because 
of the limited seating capacity, the public cannot be admitted. During 
the season of 1928-1929 there were given eleven faculty recitals, a special 
concert of the Socicte des Instruments Anciens, and forty-two recitals 
by students in Pianoforte, Organ, Voice, Violin, Viola, Violoncello, 
Harp, and Chamber Music. 

183 1 

Music Calendar 

December 15-31 

15 — Lener String Quartet, Bellevue-Stratford Ballroom, afternoon. 

15 — Casimir Quartet, Pennsylvania Museum at Fairmount, evening. 

16 — New York Philharmonic-Symphony Orchestra, Mengelberg conducting, Acad- 
emy, evening. 

17 — Students of Efrem Zimbalist, Casimir Hall, evening. 

17 — New York Metropolitan Opera Company, Academy of Music, evening. 

18 — Philadelphia Orchestra, Children's Concert, afternoon. 

19 — Philadelphia Orchestra, Children's Concert, afternoon. 

20 — Philadelphia Orchestra, Stokowski conducting, afternoon. 

20 — Josephine Jirak_, Contralto, and Jorge Bolet, Pianist, broadcasting, Fifth 
P\0,dio Concert, Curtis Institute, evening. 

21 — Philadelphia Orchestra, Evening. 


22 — Giovanni Martinelli, Tenor, Penn Athletic Club, evening. 

26 — "II Seraglio" and "Judith", Philadelphia Grand Opera Company, Academy, 

27 — Philadelphia Orchestra, Gabrilowitsch conducting, afternoon. 
28 — "Haensel and Gretel", Philadelphia Civic Opera Company, Academy, afternoon. 
28 — Philadelphia Orchestra, evening. 
30 — Philadelphia Orchestra, evening. 

January 1-15 

2 — "Aida", Philadelphia Civic Opera Company, evening. 

3 — Philadelphia Orchestra, afternoon. 

3 — Josef Hofmann, Pianist, Charlotte Simons, Soprano, and Iso Briselli, Violinist, 
Philadelphia Forum, evening. 

4 — Philadelphia Orchestra, evening. 

5 — London String Quartet, Bellevue-Stratford Ballroom, afternoon. 

6 — New York Philharmonic-Symphony Orchestra, evening. 

7 — New York Metropolitan Opera Company, evening. 

8 — Philadelphia Orchestra, Children's Concert, afternoon. 

8 — David Saperton, Pianist, Casimir Hall, evening. 

8 — Philadelphia String Simfonietta, Bellevue-Stratford Ballroom, evening. 

9 — Philadelphia Orchestra, Children's Concert, afternoon. 

9 — "Siegfried", Philadelphia Civic Opera Company, evening. 
10 — Philadelphia Orchestra, Jascha Heifetz, Violinist, afternoon. 
10 — Broadcasting Sixth P^adio Concert, Curtis Institute, evening. 
11 — Philadelphia Orchestra, Heifetz, evening. 

12 — Philadelphia String Simfonietta, Penn Athletic Club, evening. 

13 — German Grand Opera Company, evening. 

13 — Philadelphia Orchestra, Heifetz, evening. 

14 — German Grand Opera Company, evening. 

14 — New York Metropolitan Opera Company, evening. 

15 — German Grand Opera Company, evening. 

15 — Horatio Connell, Baritone, Casimir Hall, evening. 

15 — "Robin and Marion", folk opera, Philadelphia Forum, evening. 

H84 1 


The Monthly Publication of The Curtis Institute of Music 



Rittenhouse Square 
Philadelphia - Pennsylvania 

Vol. I— No. 4 January, 1930 





Editorial Comment 87 

Determining a Career Marcella Sembrich 89 

Of Instruments and Artists Lea Luboshutz 91 

Rare Books in the Library Jean B. Beck. 93 

Student Activities 100 

Faculty Activities 103 

New Appointments 104 

Radio 105 

Piano Recordings 106 

Glimpses of the Institute 

III. The Dining-Room 109 

Music Calendar 110 


Leopold Auer, Head of Department of Violin 86 

Page from Antiphonary Jtyo. l 94 

Page from Antiphonary No. z 98 

The Dining-Room of the Institute 108 

Permission is granted to reproduce parts of this magazine provided due acknowledgment is made to Overtones 
Copyright 1930 by The Curtis Institute of Music. Printed in the United States of America 


LEOPOLD AUER, Head of Department of Violin 



Editorial Comment 

HE RECENT FEAT of the Curtis Orchestra in participating twice, 
within a fortnight, in full -fledged professional grand opera 
performances, presented by The Philadelphia Grand Opera 
Company, is one without parallel in the annals of music edu- 
cation in this country or — to our knowledge — elsewhere. On the evening 
of December 9, in the Academy of Music, some seventy students selected 
from the Curtis Orchestra (whose ranks ordinarily number one hundred 
and ten), performed the orchestral score of Cdvdllerid Rjusticdnd, accom- 
panying such established and well-known singers as Bianca Saroya, Josef 
Wolinski, and Giuseppe Martino-Rossi — as well as two Curtis Institute 
artist-students of voice who were in the cast: Genia Mirska and Rose 
Bampton. The second occasion was the presentation of Mozart's Abduction 
from the Serrdglio, given for the first time in Philadelphia, on December 26, 
when the cast included such professional artists as Harriet van Emden, Josef 
Wolinski, Ivan Stetschenko, and Mario Valle — again with two Curtis Insti- 
tute artist-students participating: Natalie Bodanskaya and Albert Mahler. 

On the former evening there was given also I Pdglidcci, with 
John Charles Thomas and Nanette Guilford as guest singers, and on the 
latter occasion the first performance in America of Eugene Goossens' 
Judith, conducted by the composer, both operas being played by an or- 
chestra composed of members of the Philadelphia Orchestra. Thus the 
student-performers on these two evenings were faced with the difficult 
necessity of being measured against the irreproachable playing of pro- 
fessional musicians, members of one of the world's finest orchestras. In 



spite of these odds, with the further disadvantage of its youth and lack of 
experience, the Curtis Orchestra gave performances which, in the opinion 
of those qualified to judge, were brilliantly successful. 

Last season the Curtis Orchestra made its debut in grand opera per- 
formance by assisting in Eugene d'Albert's Ticfldnd, conducted by Artur 
Rodzinski in the Academy of Music on May 12, 1929. This opera was 
given directly by The Curtis Institute of Music before an invited audience 
and the cast was made up entirely of artist-students of the Institute, so 
that the event was not considered a strictly professional performance of 
opera. Cavalhria Rjusticdnd and II Serrdglio, on the other hand, were 
part of the announced season of The Philadelphia Grand Opera Company 
and were in every way professional; iz is interesting to note that, with no 
precedent for such participation by student-performers, special arrange- 
ments had to be made with The American Federation of Musicians before 
the collaboration of the Curtis Orchestra could be effected. In these pro- 
fessional performances the orchestra was conducted by Emil Mlynarski, 
its regular conductor in The Curtis Institute, as well as Musical Director 
and Conductor of The Philadelphia Grand Opera Company. 

Thus auspiciously has begun the policy, announced in the current Cata- 
logue of the Institute, of participation of students in the Curtis Orchestra 
in grand opera performances, and further public appearances will be antici- 
pated with keen interest. An entirely different side of the Curtis Orchestra 
activities are its concerts of symphony orchestra music, and an article re- 
viewing the history of the orchestra in this field since its organization is 
being prepared for a future issue of Overtones. 

A ttention IS called here to a change in the Officers of the Institute 
i\ announced in the new Catalogue. Mr. William Curtis Bok, formerly 
Secretary and Treasurer, has been designated Treasurer, while Mr. Cary 
William Bok now becomes Secretary and a new figure in the Board of 

Determining a Career 


Editor's Note: This article and the one immediately following have been 
submitted by way of reply to the Open Letter of the Director which appeared 
in the November issue of Overtones. Similar articles by other faculty 
members ivill be printed in the numbers to follow. 

T IS difficult to advocate any theory of education without 
being influenced by the result of our own experience. That is 
why, in revealing the reasons which make us choose music — and 
a specific branch of music — as our Life's work, it seems un- 
avoidable, no matter how much we may dislike it, to become rather 
personal. Was not my own career more than a matter of mere choice? 
It was urged far more by an inner feeling of love and reverence for art, 
or as some have expressed it, a logical consequence of natural gifts coupled 
with unusual conditions under which my early years were spent. 

My father's family for generations back were tanners by trade. Father 
himself felt so irresistibly attracted toward music that he did not hesitate, 
although still in his teens, to forsake native village, friends, and family to 
flee to a distant town where his dream could come true — that of joining a 
military band in order to realize his long suppressed desire to learn to play 
every instrument. Musizicren — to use the suggestive German expression — ■ 
was in our family a daily function as natural as it was spontaneous; all 
members of the family took part in our quartette-playing at home. 

At the age of four I was already seated at the piano, and one year later 
a miniature violin was placed in my hands; thus musical instruments 
happened to become my toys long before they became my tools. Up to 
the age of eleven my father had been my only teacher of piano and violin. 
It was then that the opportunity was first given me to play in public, and 
the memory of that happy event remains in my mind as vividly as if it 
were but yesterday. Shortly after this, father brought me to the Lemberg 
Conservatory where I received a thorough musical education in piano, 
violin, and harmony. 

189 1 


When sixteen years of age, I was taken to Vienna where Professor 
Julius Epstein, after hearing me play a complete violin concerto and several 
numbers at the piano, asked my father in apparent amazement, "Is there 
anything else this young girl can do?" My answer was to sing a few 
folk songs for him. 

I then began at once to study the piano under Epstein, violin under 
Helmesberger, and voice with Rokitanski. When the year was over, it 
was clear to me which path I most longed to pursue, for I keenly realized 
that with my voice I could express more eloquently my reverence for the 
art that filled my soul. Few realize how much hardship, discipline, and 
self-denial I had undergone, struggling with poverty that hampered me 
throughout my years of study; but in spite of all obstacles, I never knew 
discouragement, always having felt an inner conviction of attaining 
my goal. 

Following Mr. Epstein's advice, I went to Italy to study with Lamperti. 
His remarkable technical knowledge, power of expression, and stupendous 
enthusiasm were for me an inexhaustible source of inspiration. Owing to 
the exceptional background of my musical education, instilled in me by 
my father from earliest childhood, my progress was rapid, so that in 1877, 
when scarcely nineteen, my debut took place in Athens, and was im- 
mediately followed by opera seasons and concert tours throughout Europe 
and America. 

190 1 




Of Instruments and Artists 


N MOST cases where parents are musicians, they do not leave 
the choice of a musical instrument to the child. This was my 
own experience. I cannot remember when or how I started the 
violin, as my earliest recollection of playing that instrument 
was when I participated in a kindergarten concert, at the age of five. At 
the start my instructor was my father, who in his time was considered the 
best teacher in Odessa. After my father, Mlynarski was my first great 
teacher. Safonoff, the Director of the Moscow Conservatory, promised 
his help if I would come to Moscow. This I did, and there I studied with 
Grzymali. Later 1 became a pupil of Ysaye. 

I recollect a very amusing episode which occurred when I was twelve 
years of age. Professor Auer visited Odessa, and he was invited to lunch 
by the Director of the Music School. I was there too, because the Director 
wanted me to play for Professor Auer. When, during the lunch, he found 
out that 1 was a violinist, he appeared disappointed. He said to me: 
"Such a good-looking girl as you are should marry instead of trying to 
play the violin." I was mortified, as by that time I knew already that 
music would become my life work. When lunch was over, I tried to do 
my best and my surprise was great when he said: "Oh, please do not 
marry, keep on playing the violin." How very sweet of him! 

Good fortune has brought me close to artists of such magnitude as 
Nikisch, Casals, Ysaye, Chaliapin, and other great and prominent musicians 
and, by listening to them, I made them also my teachers, indirectly. 
Through meeting those great musicians I came to realize that the most 
important factor in music is the artist and not the choice of instrument. 
Why should I prefer the violin when I hear Casals and Salmond do wonders 
with the 'cello? Why should I prefer the violin when I hear Chaliapin 
sing? Or when I heard what Nikisch could do with an orchestra? Again, 
why should I prefer the violin when I hear what Josef Hofmann does 
with his piano? Yes, I love my violin. I love it because it is a part of 
myself, but there is no reason why I should proclaim the violin to be the 
only instrument that is worth while. And now, in America, when I 

I 911 


attend a symphony concert, by the Philadelphia Orchestra, the Philharmonic, 
or the Boston Symphony, when I hear the men in the orchestra play the 
flute, the oboe, or the horn beautifully, do I not enjoy it? Why should I 
not admit that there are other mediums of fine musical expression besides 
the instrument of my choice, the violin? 

I should say that in comparison with other stringed instruments, the 
violin has one advantage — that of a larger musical literature. In the last 
decade, furthermore, many new compositions for the violin have been 
written by the greatest living composers. Krcisler has added a number of 
charming works, transcriptions are made by the foremost violinists, and 
the modern and ultra-modern composers favor the violin. 

In closing, I want to say that I am happy to be a violinist. I feel that 
the violin is the most responsive instrument for musical expression, and in 
form and sound the most beautiful. 

192 1 

Rare Books in the Library 


Editor's Note: Conspicuous in the Treading Rpom of the Library is the 
handsomely illuminated parchment volume — a mediaeval Antiphonary — 
ivhich stands before the fireplace, and recently a second similar volume 
has come to the Institute, both donated by Mr. Cary William Bok- Among 
other rarities in the Library are tzvo volumes contributed by Mary Louise 
Curtis Bok; the " oldest book of Organ Preludes with Pedal Parts" collected 
by Adam Ileborgh, and Pietro Arons "Toscancllo". Dr. Beck, of the 
Faculty of the University of Pennsylvania and The Curtis Institute 
Academic Department, has very kindly furnished descriptive analyses of 
these, the first tivo of ivhich follow in this issue, while the remaining two 
ivill be discussed in the February number. 


N ITS present condition, this parchment manuscript that has 
neither title, date, nor signature represents a section of an 
original Liber Antiphonarius or Choirbook, containing all the 
chants for the Officium, with the exclusion of anything per- 
taining to the Mass. It consists of a Proprium de Sanctis, that is, the 
Officia for a certain series of feasts of saints that enjoyed a special cele- 
bration in a Dominican monastery, in Spain, at the end of the sixteenth 
century. The chants that form these Officia are : the complete set of the 
Antiphoncc for all the Hours, for the Magnificat and the Benedictus, 
Invitatoria and Responsoria, with their Versus, the tonal intonations of 
the Psalms and finally, some hymns. 

Our codex numbers 61 full size folio leaves, 29 inches high by 22 
inches wide, which have been stitched together in fours and fives (quatcrni- 
ones and quiniones). Each page is first marked out, at the outside margin, 
with a dry point, in order to divide it evenly to hold 5 systems of staves, 
drawn in red, 5 lines to the stave, with an appropriate space between the 
staves for the words. In several instances, the music is given for only the 
first two lines of the hymns, and then the page is ruled to hold 13 lines 

1193 1 

O V Ik IK M U i ■' I -. , 

®t* pill 


:\m era 



^ *fy — 


unci mci ctiiucuLinoii 

i m ^*K . m » * ^ 

clt in re Riu9 oilbltiiif la 



bu ni a mci ct bcfiiblin 

iv\( ;e fr< >m w/ in k>n m<) v.. i 

O V E \\l T O IN II-; s 

oi text. The majority ol the capital letters that introduce every new item 
are drawn in a vivid red, more or Less ornamented, sometimes also alter 
nating with plain black, dark blue, and green, but without any apparent 
system or order. 

The first number opens, without any rubric (headline or title), a very 
rich Officium for ST, DOMINIC (August 4) with Qaude felix Hispania, 
This officium fills the first section, M leaves, ol the book. The initial 
letter G "I the first word is luxuriously illuminated in three colors, red, 
blue, and green, but without gold. Highly artistic border decorations 
cover the margins ol the first page. The absence ol any headline may be 
explained by the surmise that the usual rubric, giving the name ol the 
feast and ol the first number, stood on a preceding page that was lost. 

The present foliotation from 1 to LI is not genuine. It is drawn ovei 
.in original numbering that went from 80 to LOO. On folio L6 verso, 
there is a reference ii> the anthem ( ) ->jhDi miretm with the indication ol the 
folio as fol. So, p, .' , and indeed, tins anthem is found on the folio thai 
originally was folio 80, and which carries in us present numbering, folio 
I verso. Between folio 21 and 22, several leaves seem to have been cut 
out; the remains are still visible. itii 

On top of folio 22 there begins, again without any rubric, the Officium 
for the Assumption (August 15), with the anthem Tota pulchra ts 
Another beautifully illuminated miniature introduces this second group. 
The body of the initial T is painted in vermilion over a gold ground. 
Satan, in the shape ol a serpent, in vivid green, is wound around the stem, 
head down, and holding on the end ol his tongue the apple ol temptation, 
The fields ol the vignette, which measures 9 by 8J i inches, are decorated 
with artistically developed foliage patterns in gold. 

,. . . 

Willi folio 37 begins the Office of ST HYACINTH, the ''Apostle 
ol the North", born in Poland in L185, died in Kracow, 1257. He had 
met ST DOMINIC in Rome in L220 and had received at his hands the 
habit of the newly established order ol Friars Preachers. Since ST 
HYACINTH was canoni ;ed only in L594, out Antiphonary, devoting to 



him a complete Office, must have been written some time after that date, 
that is, in the last years of the sixteenth or the first years of the seventeenth 

After the Office of the Sacred Name of Mary (September 29), the 
Antiphonary ends with the Feast of the Archangel Raphael (October 24) , 
folio 54-61. 

Unfortunately, our Antiphonary carries no information whatsoever as 
to date, authorship, or name of copyist, not even an owner's seal or plate. 
Where does it come from? Who wrote it? In what country, for which 
church, in what year was it compiled? 

All these questions must be answered from internal and external 
evidence; the paleographic particularities, both of the writing of the words 
and of the musical notation, and a painstaking identification of the order 
and arrangement of all the various chants within each given feast, com- 
pared with such other Antiphonaries where the same order occurs, are 
the only clues available that may enable the historian to identify undated 
and anonymous works of this kind. 

As we have seen above, our Antiphonary contains the Office of St. 
Hyacinth, who was canonized in 1594. This gives us the terminus a quo, 
that is, our book must have been written sometime after this date. 

The musical notation throughout the manuscript is the traditional 
Nota quadratd of Cantus playius, on staves of five lines, in red, with the 
usual C and F keys disposed so as to keep the notes within the staves and 
to prevent them from encroaching upon the space allotted to the text. 
The vertical bars that cross the staves have no time value; they merely 
serve to separate syllables, words, or syntactical units. The musical 
text is, as compared with other manuscripts of the same type, remarkably 
pure and carefully copied in the imposing calligraphy of the best ateliers. 

The covers seem to be the original full boards, leather covered, with 
the original enchased corner and centerbrasses and solid iron frontlocking 

The volume is in excellent condition of preservation. 




THIS choir book is richer in its contents than No. 1, but poorer in its 
make up. The page format comes quite close to No. 1 : it measures 
20 by 263^2 inches and is laid out to hold 6 or 7 staves on the page. The 
staves on the leaf that is glued on the front cover have only 4 lines, like 
those on folios 72-86; all the others have five lines. In its actual condition 
it consists of ninety-two leaves numbered 1 to 34, 71 to 125, and one 
double leaf that was used as fcuille de garde and glued on the inside of 
the front cover. This leaf was originally folio 77 and 78 and contains 
part of the Office of Saint Catherine. 

The identification of this manuscript is facilitated owing to the fact 
that on the verso of folio 85, which was the end of the manuscript in its 
original form, we read the following signature: Frater Pctrus Lopez nie 
fecit et 31. Januarii me pcrfecit Anno a Christo nato 1594. Ldudes 
dentur Deo in eternum. From this statement, the writing of which is 
unmistakably identical with that of the original part (folio 1-85), we learn 
that "Brother Petrus Lopez made me and achieved me on the 31st of 
January 1594. Praise forever be given the Lord". We have here, there- 
fore, a choir-book, dated and signed by the very copyist. A comparative 
analysis of the feasts celebrated could determine the particular monastery 
to which it belonged. The name of the copyist sounds Spanish or Portuguese. 
A bit of internal evidence suggests the latter; on folio 122 we find a hymn 
that sings: In hymnis confiteantur domino Lusitani, "In hymns the Portu- 
guese sing to God." This reference seems to denote that the monastery 
in question was located in Portugal. 

The folio that comes right after the one which Brother Lopez auto- 
graphed, gives us, written by the same hand, the table of contents of the 
original. It lists the following feasts: 

Feria V, in cend domini (Last Supper), folio 1 

Feria VI (Good Friday), folio 14 

Sabbati sancti (Easter-Saturday), folio 25 

Sanctaz Agathce, folio 35 

Cathedrce. sancti Petri, folio 45 




fhvitrce in medio Cl^ci ."5> rie 
tmfotit eh???, xpus -ori a .frok 4n te|f ... 

SE£Sf II lo:rc out* crude. 

Jnx> p2rmn3 
t ai> xi lias . 
bDjas.iiTU . 

Y~YJ 1 — B — iZji — * — n 

\A Vilroeftct?cftp:cmo 

-■ — •- 

*■ ■ ■ ■ ■ i 

'! — , 

bio olxdiene vlq? 40 inortc wortc 

mite cnicio ♦pf.ijJ' cno tnno » p 



fl S 




m n 

H 8| 1 ■ 


*— Br ■ 

" "■ " 



lice Utatirie jccipta 1 nomc xo 


■ * ■ 

? calx> .p &4L 

mini in ax> alx> .p e4L itdxm /f>j. 


1198 1 


Sdncti Thomcz dquindtis, folio 48 
Annuncidtionis bedtce Mdrice, folio 59 
Sdncti Vincenti, ordinis nostri, folio 71 
Sdncti Petri, mdrtyris, folio 86. 

The mutilation of folios 35 to 70 must have taken place some two 
hundred years ago, from the following evidence: on the inside of the 
front cover an owner wrote, in the writing of the seventeenth century, 
another table of contents which omits the feasts that originally filled the 
now missing pages, but he adds to the list of Brother Lopez' table a series 
of 8 feasts, that now form the second half of the manuscript, from folio 
87 to 125. This second series comprises the feasts of: 

Sdnctd Cdtherind, ordinis nostri, folios 87-88 (on the cover) and folio 93 

SS. Apostolorum Philippi et Jdcobi, folio 97 

5. Antonini, ordinis nostri, folio 99 

Inventio sdnctce Crucis, folio 103 

Si. Pii V, ordinis nostri, folio 104 

Jodnnis dnte portds Ldterdni, folio 109 

Bedtcz J{pscc, Virginis, ordinis nostri, folio 111 

Qundisdlvi, ordinis nostri, folio 118. 
We see from this list that the majority of the Officia belong to feasts 
that are devoted to special Saints of the Dominican order. 

The most interesting part of this Antiphonary is to be found on folios 
12 and 13. Here we note a very detailed rubrication prescribing the 
manner in which the various parts of the Orficium of the Holy Week 
were to be performed. The choir is divided into three groups: frdtres 
in medio chori, the Brethren in the center of the choir; frdtres dnte grddus, 
those that are before the altar-steps; and, finally, the choir proper. These 
rubrics afford additional evidence of the dramatization of the Holy Week 
Officium, out of which Mediaeval Drama had developed some six 
hundred years before our Antiphonary was written. 

(To be concluded) 


Student Activities 


he seventh in the present season's series of Students' Concerts 
was that given on the evening of December 17 by violin 
students of Efrem Zimbalist. Three of the younger students, 
Harry Ben Gronsky, Felix Slatkin, and Franklin Siegfried, 
played the Antonio Vivaldi Concerto in F major, for Three Violins (with 
accompaniment of String Orchestra), the Cadenza by Joseph Achron. The 
String Orchestra, made up of six violins, two violas, two 'cclli, and double 
bass, was conducted by Louis Wyner, student of Mr. Mlynarski. Paul 
Gershman played the Allegro moderate movement from Tschaikowsky's 
Concerto in D major, Opus 35; Lois Putlitz performed the Scotch Fantasie, 
Opus 46 of Max Bruch; while Leonid Bolotine's numbers were the Tzigane 
by Maurice Ravel, Madchen im Brautgemach by Erich Korngold, and 
Szymanowski's Tarantella. Theodore Saidenberg assisted at the Piano. 

The Eighth Concert took place on Thursday evening, January 9, when 
Max Aronoff, accompanied by Florence Frantz, gave a recital of music 
for the Viola. The programme consisted of Jeno Hubay's Morceau de 
Concert, Opus 20, the Concerto in D major, Opus 1 of Karl Stamitz, 
Elgar's La Capricieuse, Opus 17, Georges Bizet's Aria from U ArUsienne, 
and Niccolo Paganini's Moto Perpetuo. 

Two students of Edwin Bachman participated in the Ninth Concert, 
given on January 13. Lily Matison, assisted at the Piano by Joseph 
Rubanoff, played Pietro Nardini's Sonata in D major, and Alfredo d'Am- 
brosio's Concerto in B minor, Opus 29; while Laszlo Steinhardt, accom- 
panied by Earl Fox, performed the Corelli-Kreisler La Folia and Glazou- 
noff's Concerto in A minor, Opus 82. 

A Tenth Concert will be rendered on the afternoon of January 23 by 
students of Louis Bailly in Chamber Music. The Swastika Quartette will 
perform the Mozart String Quintette in C minor, with the second viola 

I 100] 


part supplied by Leon Frengut; Prokpficff's Ouverturc sur des themes 
Juifs, with Florence Frantz at the Piano, and James Collis, Clarinet; and 
lastly, the Brahms Piano Quintette, Opus 34, with Miss Frantz again 

T Toice students again participated in a Philadelphia Grand Opera 
V performance on Thursday evening, December 26, when Mozart's 
II Serraglio was given its premiere in Philadelphia. Natalie Bodanskaya 
as the maid Blonda and Albert Mahler as Pedrillo scored an undoubted 
success with the engaging way in which they handled these roles, and they 
received much praise in the press notices of this production. 

The Curtis Orchestra, whose debut in grand opera performances is 
discussed elsewhere in this issue, will shortly give the first two of the 
series of Orchestra Concerts planned for this season. On the evening of 
February 5 the orchestra will give its first concert before The Philadelphia 
Forum, in the Academy of Music, while a second appearance will follow 
on February 12 in Goodhart Hall, Bryn Mawr College, Bryn Mawr. 
Emil Mlynarski will conduct the orchestra in these concerts. 

The Curtis Institute Concert Course continues with the following re- 
citals arranged for the next four weeks: 

January 22 — Ventnor Music Club, Atlantic City, New Jersey: Swastika 
Quartette; Helen Jepson, Soprano. 

January 30 — Mary wood College, Scranton; Rose Bampton, Contralto; 
Ladislaus Steinhardt, Violin; William Harms, Piano. 

January 31 — State Teachers College, East Stroudsburg: Same as 

February 2 — The Hill School, Pottstown: Conrad Thibault, Baritone; 
Edna Phillips, Harp; Paul Gershman, Violin. 

February 5 — Haddonfield, New Jersey: Beniamino Grobani, Baritone; 
Martha Halbwachs and Sonia Hodge, Two Pianos; Edna Hochstetter, 

February 6 — State Teachers College, West Chester: Florence Frantz, 
Piano; Henriette Horle, Soprano; Judith Poska, Violin. 

I 101! 


The Second in the series of Chamber Music Concerts in the Museum 
at Fairmount took place on Sunday evening, December 15 when a some- 
what unusual programme was heard. Five short movements from Jean- 
Philippe Rameau's Concerts for Three Violins, Viola, Violoncello, and 
Double Bass were played by Judith Poska, Lois Putlitz, Carmela Ippolito, 
Paull Ferguson, Frank Miller, and Jack Posell. Josephine Jirak, Contralto, 
assisted by Max Aronoff, Viola, and Florence Frantz, Piano, sang Two 
Songs (Opus 91) by Johannes Brahms, Qestillte Sehnsucht and Qeistliches 
Wicgenlied. The concert was completed by Beethoven's Septet in E flat 
major, Opus 20, performed by Leonid Bolotine, Violin; Leon Frengut, 
Viola; Tibor de Machula, Violoncello; Jack Posell, Double Bass; James 
Collis, Clarinet; Frank Ruggieri, Bassoon, and Henry Whitehead, Horn. 

The Third of these Museum Concerts will be played on the evening of 
January 26 when the programme will be the same as that listed above for 
the Tenth Students' Concert in Casimir Hall, to be given on January 23. 

The Swastika Quartette will appear in special concerts before the 
Music School of the Henry Street Settlement, New York City, on Janu- 
ary 19, and the Community Institute of Washington, D. C, in the Central 
High School of that city, on January 29, with Joseph Levine assisting in 
the Franck Piano Quintette. 

Alexander McCurdy, Jr., and Robert Cato left Philadelphia at the end 
of December to take a course in Campanology at the Bird Sanctuary, 
Mountain Lake, Florida, under Anton Brees (formerly of the Antwerp 
Cathedral, and the world's foremost Carilloneur). Mr. McCurdy will 
remain away for five weeks, and Mr. Cato probably for six weeks. 

In the concert given before The Philadelphia Forum on January 3 by 
Josef Hofmann, Charlotte Symons, Soprano, and Iso Briselli, Violin, were 
artist-students of the Institute who assisted. 

II 102! 

3ln iHemortam 

1863 - 1929 

Faculty Activities 


he fifth Faculty Recital of this season on January 8 proved to 
be one of the most brilliant concerts heard thus far in this series, 
with Lea Luboshutz, Violin, and Felix Salmond, Violoncello, 
collaborating with Isabelle Vengerova, Piano, in the following 
programme of chamber music: Mozart's Trio in E major, Opus 15, No. 2, 
Beethoven's Sonata in A major, Opus 47, for Piano and Violin 
("Kreutzer"), and Tschaikowsky's Trio in A minor, Opus 50 ("To the 
Memory of a Great Artist"). 

On the evening of January 15 Horatio Connell, Baritone, will be 
heard in the Sixth Recital. 


/Concerts by Josef Hofmann during early January included his appear- 
^^ ance before The Philadelphia Forum on January 4 and a recital in 
Carnegie Hall, New York City, on the afternoon of January 12. His 
Western Tour will begin shortly, with a concert in Flint, Michigan, on 
January 20, and will continue as follows: January 23, Colorado Springs, 
Colorado; January 24, Pueblo, Colorado; January 27, Denver, Colorado; 
January 29, Salt Lake City, Utah; February 4, Seattle, Washington; Feb- 
ruary 5 and 6, Spokane, Washington; February 8, Vancouver, British 
Columbia; February 10, Portland, Oregon; and February 14, Stockton, 
California. Further dates will be announced later. 

Efrem Zimbalist has already begun a series of fourteen concerts along 
the Pacific Coast, between January 2 and February 2. On February 4 he 

II 103 1 


will play in Lubbock, Texas, and on February 11 and 12 in Charleston, 

On December 26, Harriet van Emden, Contralto, made her debut in 
opera when she sang the role of Constanza in the Philadelphia Grand 
Opera Company's production of Mozart's II Scrrdglio. Miss van Emden 
prepared for this appearance at very short notice when the artist already 
engaged suddenly became too ill to remain in the cast. 

Carlos Salzedo will give two joint recitals in St. Louis, Missouri, on 
January 18 and 19, with the Russian 'cellist Gregor Piatigorsky. 


Albert Meiff has recently had published by Carl Fischer in the American 
Academic Series a collection of Twelve Concert Etudes for Violin, dedi- 
cated to many of the foremost contemporary violinists. 

Abram Chasins, who has recovered from a prolonged illness, writes 
of the publication by J. Fischer of a song, Thou Art Mine, of which he is 
the composer of both words and music. 

New Appointments 

he entire personnel of The Curtis Institute extends a cordial 
welcome to Mr. W. Creary Woods, the recently appointed 
Executive Secretary. Coming to the Institute after more than 
twenty-five years' association with the Aeolian Company of 
New York City, Mr. Woods combines an experienced business knowledge 
with an insight into the artistic aspects of the profession of music. 

Alberto Bimboni has been engaged to take over the work of coaching 
Italian repertoire. He comes with long years of experience as a singer, 
composer, conductor, and teacher. 

Mr. Richard Hageman has discontinued his coaching classes, having 
been granted leave of absence in order to work on the score of an opera. 

II 104 1 


j|N THE fifth of the series of twenty half-hour radio concerts 
broadcast over the Columbia System (Station WCAU in 
Philadelphia and Station WABC in New York, with a nation- 
wide network of stations), on Friday evening, December 20, 
at 10:30, The Curtis Institute of Music presented eight of its artist- 
students in the following programme: the Delibes-Dohnanyi Naila Valsc, 
played by Jorge Bolet, Pianist; two Brahms songs, Longing at I{est and 
Cradle Song of the Virgin, sung by Josephine Jirak, Contralto, accompanied 
by Florence Frantz, Pianist, and Max Aronoff, Violist; and the First 
Movement of the String Quartet in F major, Opus 16, No. 1, of Beethoven, 
played by the Casimir Quartet, made up of Leonid Bolotine and Paul 
Gershman, Violins, Leon Frengut, Viola, and Tibor de Machula, 

The next concert, the Sixth, was broadcast after the Christmas Recess, 
on Friday evening, January 10, when the programme was in three divisions : 
Carlos Salzedo's Variations on a Theme in Ancient Style, played by 
William Cameron, Harpist; Hugo Wolf's Secrecy, Schumann's Wandering 
Song, and Edward Horseman's The Shepherdess, sung by Benjamin 
Groban, Baritone; and Ernest Bloch's Nigun and a Brahms Hungarian 
Dance, played by George Pepper, Violinist. Theodore Saidenberg 
assisted at the piano. 

Three more concerts have been arranged to be broadcast at the same 
hour on the remaining Friday evenings of the month. On January 17, 
Jeanne Behrend, Pianist, will play Handel's Harmonious Blacksmith and 
Ravel's Jeux d'eau. Albert Mahler, Tenor, is to sing a group of songs, 
accompanied by Joseph Rubanoff — Edward Purcell's Passing By, Puccini's 
Aria from La Tosca ("When the Stars were Brightly Shining"), and the 
Prize Song from Wagner's Die Meister singer. Ladislaus Steinhardt, 
Violinist, accompanied by Earl Fox, will play Corelli's La Folia Varia- 

On the evening of January 24, the Eighth concert will present the 
Curtis Orchestra for the second time this season over the radio. The 

I 1051 


programme to be played includes Wagner's Overture to Lohengrin, the 
First Movement of Schumann's Concerto for Piano and Orchestra, the 
solo part played by Florence Frantz, and Le T(puet d'Omphale by Saint - 

The Ninth Radio Programme is to present as a novelty the Connell 
Vocal Quartette, composed of Helen Jepson, Soprano, Rose Bampton, 
Contralto, Albert Mahler, Tenor, and Clarence Reinert, Bass-Baritone. 
They will sing Von Flotow's Slumber Song from Martha, Balfe's From 
the Valleys and Hills from The Bohemian Qirl, and the Quartette from 
Fjgoletto by Verdi. Carl Weinrich, Organist, will play the First Move- 
ment of Bach's Sixth Trio Sonata, Dupre's Choral Prelude He by His 
Qreat Mercy, and Vierne's Divertissement. Lastly, Leonid Bolotine, 
Violinist, will be heard in Goldmark's Air from the Violin Concerto 
and The Chase, by Cartier-Kreisler. Joseph Rubanoff will accompany 
the Connell Quartette, while Theodore Saidenberg will assist Mr. 

Piano Recordings 

imitations OF SPACE forbid a complete listing of the collection 
of roll-recordings for the Steinway Duo-Art which has grown 
rapidly during the past month, but a general survey may give 
an idea of its present size and scope. More than twenty great 
pianists are represented and they may play as many times as one wishes a 
repertoire of more than two hundred compositions. Wilhelm Bachaus 
is represented by the Brahms Variations on a Theme of Paganini, Op. 35; 
Harold Bauer plays the Schumann Sonata in F -sharp minor, Opus 11, as 
well as the Chopin Sonata in B minor, Opus 58; Busoni has a half-dozen 
selections of Bach, Chopin, and Liszt, including the latter's La Campanella; 
Abram Chasins plays his well-known Chinese pieces; Shura Cherkassky's 
recordings include compositions of Moszkowski, Rachmaninoff, Tschai- 
kowsky, and Verdi-Liszt; Cortot is present with Scriabin's Etude Opus 8, 
No. 12; Ignaz Friedman plays four long Viennese Waltzes of Gaertner- 

l 106 1 


Friedman; and Gabrilowksch, Grainger, and Mark Hambourg play works 
of Chopin, Schumann, and Rubinstein. 

Among the more important of the forty-odd works with which Mr. 
Hofmann is represented may be mentioned Chopin's Concerto in E minor, 
Opus 11, Scherzo in B minor, Opus 20, Scherzo in B flat minor, Opus 31, 
Sonata in B flat minor, Opus 35, as well as many Waltzes, Preludes, 
Polonaises, Nocturnes, and the like; Beethoven's Sonata in C major, 
Opus 2, No. 2, the "Moonlight" Sonata, I{ondo A Capriccio, Opus 129, 
and the Turkish March from "The Ruins of Athens", Opus 113; while 
numerous compositions by Liszt, Moszkowski, Rubinstein, Rachmaninoff, 
Scriabin, Schumann, Sternberg, Schytte, Tschaikowsky, and Josef Hofmann 
complete the long and interesting list. 

Ernest Hutcheson, Frederic Lamond, and De Pachmann play works by 
Liszt, Schubert, Chopin, and Beethoven, while Alexander Lambert has 
an interesting group of compositions of Moszkowski, Cui, Korganoff, 
Brassin, Scriabin, Chopin, and Litolff. Paderewski is represented by many 
of his famous performances, including short works of Chopin, Debussy, 
Mendelssohn, Schubert, Schumann, several Liszt Hungarian Rhapsodies, 
and his own compositions. Carlos Salzedo plays modern works by 
Widor, Debussy, Ravel, and himself; E. Robert Schmitz has recorded 
Schumann's Camaval; Alexander Siloti performs arrangements of his own 
of pieces by Bach, Liszt, Liadoff, Schubert, Riabinin, and others; Wanda 
Landowska is represented by Mozart's Sonata in D, No. 15; Horowitz 
has several brilliant recordings, including Saint-Saens' Danse Macabre; 
Strawinsky plays part of his Concerto and all of his Sonata; Sanzewitsch is 
present with interesting Spanish works of Maduro; and there is a long list 
of Russian compositions played by Serge Prokofieff, among them 
many of his own works, as well as things by Mussorgsky, Glazounoff, 
Rachmaninoff, Scriabin, and Rimsky-Korsakoff. 

I 107! 


I 108 1 

Glimpses of the Institute 


ne OF the few opportunities for relaxation and social inter- 
course in our busy community of students and teachers comes 
when practicing, lessons, and recitals are suspended for lunch 
and dinner, and animated groups gather about the tables of the 
attractive "restaurant" which is one of the keenly appreciated features of 
The Curtis Institute of Music. Here carefully balanced, home-cooked 
meals are provided at cost, a service which means much to students who 
live away from home or whose homes are in outlying districts of the city. 

During the first year of the school, no such provision was made, but 
the small tea room which was operated in the main building during the 
following two years won such warm patronage that all doubts of the need 
or the permanence of this service were dispelled. Two years ago the entire 
top floor of the adjoining Locust Street building was equipped with ample 
pantries, a kitchen, and a dining-room which at present accommodates 
more than eighty persons at once. The accompanying picture shows one 
end of this informal and pleasant room, with its warm-toned paneling and 
furniture, its open fireplace decorated with gay-colored tiles, and the win- 
dows high enough to catch the sunset glow which in late spring pours 
across nearby Rittenhouse Square at the dinner hour. The doors on either 
side of the fireplace lead to smaller rooms available for special parties. 

Sometimes, as on an evening before a Casimir Hall recital, the room 
is filled to capacity and one does not linger long over dinner. At other 
times there is every opportunity to stay on and enjoy a quiet discussion of 
musical personalities, technical problems, or "off-stage" gossip of the sort 
which arises spontaneously wherever musicians may gather, whether in a 
terrasse in Paris, a Kajfechaus in Vienna, or the dining-room of a school 
in Philadelphia. Faculty members are as much to be found here as stu- 
dents, and many a famous anecdote or bit of tradition is repeated during a 
casual table conversation and so kept alive through such fortunate en- 
counters between student and instructor, when any possible gap or dis- 
tance between the two is thus happily bridged. And so, even in this most 
social corner of the Institute, a broad type ot education is being exercised. 

I 109 1 

Music Calendar 

January iS'3 1 

15 — Horatio Conndl, Baritone, and Rose Bampton, Contralto, Casimir Hall, evening. 

15 "Siegfried", German Grand Opera Company, Metropolitan Opera House, evening. 

15 — "Robin and Marion", Folk Opera, Philadelphia Forum, evening. 

16 — "Gotterdammerung", Philadelphia Civic Opera Company, Academy, evening. 

17 — Philadelphia Orchestra, Gabrilowitsch conducting, Academy, afternoon. 

17 — Broadcasting Seventh Radio Concert, Curtis Institute, evening. 

17 — "The Flying Dutchman", German Grand Opera Company, evening. 

18 — "Don Juan", German Grand Opera Company, afternoon. 

18 — "Gotterdammerung", German Grand Opera Company, evening. 

18 — Philadelphia Orchestra, evening. 

19 — Societe des Instruments Anciens, Bellevue -Stratford Ball Room, afternoon. 

20 — "Don Juan", German Grand Opera Company, evening. 

20 — Mendelssohn Club, Academy of Music, evening. 

21 — "Tristan und Isolde", German Grand Opera Company, evening. 

21 — New York Metropolitan Opera Company, Academy of Music, evening. 

23 — Swastika Quartette, assisted by Leon Frengut, Viola, Florence FrarUz,, and James 

Collis, Clarinet, Casimir Hall, afternoon. 
24 — Philadelphia Orchestra, afternoon. 

24 — Broadcasting Eighth Radio Concert, Curtis Institute, evening. 
25 — Philadelphia Orchestra, evening. 
26 Swastika Quartette, Leon Frengut, Florence Frantz, and James Collis, Pennsylvania Museum 

at Fairmount, evening. 
26 — John Charles Thomas, Baritone, Penn Athletic Club, evening. 

27 New York Philharmonic-Symphony Orchestra, Bernardino Molinari conducting, evening. 

28 — New York Metropolitan Opera Company, evening. 

29 Walter Damrosch, Lecture-recital on "Die Walkiire", Philadelphia Forum, evening. 

30 "Samson and Dalila ', Philadelphia Civic Opera Company, evening. 

31 Philadelphia Orchestra, Hans Kindler, Gcllist, afternoon. 

31 — Broadcasting Ninth Radio Concert, Curtis Institute, evening. 

February 1-15 

1 — Philadelphia Orchestra, Kindler, evening. 

3 "Mephistofele", Pennsylvania Grand Opera Company, evening. 

3 — Philadelphia Orchestra, Kindler, evening. 

4 — New York Metropolitan Opera Company, evening. 

4 "Fedora", Pennsylvania Grand Opera Company, Metropolitan Opera House, evening. 

5 — Philadelphia Orchestra, Children's Concert, afternoon. 

5 — The Curtis Institute Orchestra, Philadelphia Forum, evening. 

6 "II Trovatore", Pennsylvania Grand Opera Company, afternoon. 

6 — Philadelphia Orchestra, Children's Concert, afternoon. 
6 — "Lohengrin", Philadelphia Grand Opera Company, evening. 
6 — "Un Ballo in Maschera", Pennsylvania Grand Opera Company, evening. 
7 — Philadelphia Orchestra, afternoon. 

7 — Broadcasting Tenth Radio Concert, Curtis Institute, evening. 
7 — "Manon Lescaut", Pennsylvania Grand Opera Company, evening. 
8 — "Martha", Pennsylvania Grand Opera Company, afternoon. 
8 — "II Piccolo Marat", Pennsylvania Grand Opera Company, evening. 
8 — Philadelphia Orchestra, evening. 

9 — Cyrena Van Gordon, Contralto, and John Powell, Pianist, Penn Athletic Club, evening. 
11 — New York Metropolitan Opera Company, evening. 
12 — Orpheus Club, evening. 

13 — "The Magic Flute", Philadelphia Civic Opera Company, evening. 
14 — Philadelphia Orchestra, afternoon. 

15 — Broadcasting Eleventh Rcidio Concert, Curtis Institute, evening. 
15 — Philadelphia Orchestra, evening. 

I 1101 


The Monthly Publication of The Curtis Institute of Music 



rlttenhouse square 
Philadelphia - Pennsylvania 

Vol. I— No. 5 February, 1930 





Edward W. Bok Josef Hofmann 113 

The Piano as It Seems to Me Isabelle Vengerova 114 

What Music Means to Musicians Vera Fonctrojff 117 

Rare Books in the Library Jean B. Beck 119 

Student Activities 126 

Faculty x^ctivities 130 

Academic Department 132 

Radio 133 

Glimpses of the Institute 

IV. Reception Room of the Stringed Instruments and Theory 

Building 135 

Music Calendar 136 


Edward W. Bok 112 

Pages from Adam Ileborgh's Book of Organ Preludes 120 

Page from Pietro Aron's Toscanello 124 

Reception Room of the Stringed Instruments and Theory Building . . 134 

Permission is granted to reproduce parts of this magasine provided due acknowledgment is made to Overtones 
Copyright 1930 by The Curtis Institute of Music. Printed in the United States of America 

I 1121 

Edward W. Bok 

A great man has passed away. 

In Edward Bok the world has lost a great educator, writer, editor, and 

I have lost my best friend and advisor. 

For thirty years being a close friend of a man who possessed an inde- 
fatigable mind and vivid imagination, I had the privilege of watching the 
remarkable progress toward the apex of Edward Bok's unique career. 
During these years Mr. Bok and I went through the most significant epochs 
in our lives and now that he is no more I feel as though a part of my 
past were torn from my inner self. 

What this extraordinary man meant to me he must have meant in a 
still higher degree to his kin, so that I — nay, we all of the Institute — wish 
to convey our heartfelt sympathy to our beloved President, Mrs. Bok, and 
to her family. 

Although he has left us, Edward Bok, the man, and his glorious 
achievements will always live on in our memory. 



The Piano as It Seems to Me 


Editor's Note : This article and the one immediately following have been 
submitted by way of reply to the Open Letter of the Director which appeared 
in the November issue of Overtones. Similar articles by other faculty 
members will be printed in the numbers to follow. 

an one SAY that we ourselves really choose the medium of our 
self-expression? Is it not rather that our natural abilities and 
dispositions outline our way in life? If these dispositions are 
definitely marked, we call them a vocation. The driving force 
of a vocation gives one strength and assurance to work stubbornly and 
steadily through hardships, doubts, and disappointments towards the ideal 
goal of our existence. We may say that this "vocation" is the answer to 
the challenge of Life, just as love is the answer to the challenge of Death. 

So the choice of a particular instrument is often the result of circum- 
stances alone, sometimes matters of inheritance and environment. The 
piano, for instance, has become a part of almost every home and so it is 
quite natural for a child to try tone combinations on an instrument which 
is at hand, ready to give immediate response to the child's fingers. In 
my own experience, the piano was the first medium through which music 
was revealed to me. I was not quite five years old when I listened to the 
playing of my elder sisters, who almost every evening used to play "four 
hands". It was Mozart's Symphony in Q minor which led me over to 
my dreams. Impressions of childhood often stay with us for life, and so 
this symphony remains fixed in my memory as the most beautiful and 
touching music. Another great favorite with me was Schumann's Merry 
Peasant; deepest sorrow would fade and tears would dry when my sister 
would cheer me with its tune. To find by ear those notes which made 
me so happy, and to play the piece myself — this was for me a game far 
more exciting than any other. Of course this occupation of mine was 
bound to arouse suspicions, and very shortly afterwards there began the 
first lessons in what has proved to be my life's study — the Piano. 

At this time, in the town where I was brought up, music study for a 
girl included only the piano; to study the violin was unusual, while for 

I 114 H 


a woman to play the 'cello was unknown and would have been thought 
odd. For a long time — even with our grandmothers! — it was the piano 
which was the patient confidant of many a heart's grief. . . . But as the 
years passed by and my studies became at last professional, I knew that the 
piano was the instrument I loved most of all. The instrument we play 
becomes our "second nature", so that it is difficult to be strictly impartial 
in speaking of it. We know it better, we like it better. In life, many a 
preference is based on this same better knowledge, just as animosity 
towards unfamiliar things is often due to the dread of the mental effort 
necessary in order to understand them. 

But independent of our personal preferences, there are still indisputable 
truths about the piano's superiority over other instruments. Its immense 
literature, for instance! Evidently the piano must at all times have been 
considered the most complete instrument, for the greatest composers have 
devoted the largest part of their compositions to it. Another advantage 
is the fact that the piano does not require the support of any other instru- 
ment for harmony and polyphony, while on the other hand it is the 
necessary companion to the lonely voice of every other instrument, and it 
is the mainstay of any larger ensemble. 

Furthermore, the science of playing the piano has developed immensely 
in the last twenty-five years, greatly enlarging the possibilities of this 
instrument. There have always been artists who, with the intuition of the 
genius (ever in advance of his time!), have been able to give to the piano 
all the expression it could possibly have. But in the conception of the 
general public, the piano was for the most part the instrument of only 
"technical" possibilities, by the word "technique" meaning velocity and 
frequently noise. Melody, emotion, expressiveness — these were restricted 
to the more romantic string instruments. The piano was blamed for being 
"cold". Beginning with Leschetizky, however, methods were discovered 
which revolutionized tone production, endowing the piano with a sonority 
hitherto unknown to the legions of pianists. Touch was no longer con- 
sidered a matter of natural disposition — either "hard" or "soft". Mechani- 
cal laws were made the basis for a new approach to the keyboard, so that 

U15 1 


the touch could be improved, made beautiful, brought to perfection. The 
intimate rapport of the hand with the keys revealed possibilities of legato 
which influenced phrasing in a most musical way. The use of the pedals 
likewise has become a subtle and complicated science in itself, with pianists 
no more relying helplessly and exclusively on "intuition" and "inspiration"; 
through conscious study and understanding we now control this important 
means of contributing to the richness and color of the piano's tone. 

Responsible and controlling intellect has replaced the "divine uncon- 
sciousness" of former days, putting an end to the unmotivated exaggera- 
tions and heart-rending sentimentalities which prevailed. Musical taste 
has improved, the mind and the ear have become conscious of the beautiful 
sonorities and all the response the living and sensitive body of a fine grand 
piano can give to one who respects and knows its nature. Thus the piano 
is important not only because it is the most complete solo instrument, 
but also because it must be considered as a chief factor in the general 
musical culture of our day, carrying the message of great music to the 
broader masses. 

I 116 1 

What Music Means to Musicians 


hatever may originally have been the cause of choosing a 
particular instrument as a medium of musical expression, there 
are many and varied reasons why we have continued to make it 
a life work. Undoubtedly the urge for musical expression is 
inborn in every musician of prominence. But the instrument referred to as 
that "of our choice", has come to nearly all of us by chance or by fate. 

We cannot say whether the great violinist might have been as great a 
pianist or vice versa; again, it is a question as to which way fate may have 
directed him. There are few who are predestined to play on a particular 
instrument; for the great majority, it is the years of serious work in trying 
to attain the ideal of perfection, or the experience of gratifying moments 
in spite of struggle and discouragement, that causes such a love for an 
instrument as eventually to result in the belief that this instrument is for 
each, his only mode of musical articulation. 

That may be one of the reasons why we adhere so tenaciously to our 
'cello, our flute, our piano. Perhaps it is through the vibrations of this 
particular instrument that one is in accord with the world at large. Who 
knows? In any event we grow to love it until it is a veritable part of us. 
Whether the very rigid training becomes sheer force of habit, whether 
interpretation of the great masters becomes a fascinating and absorbing 
daily task, — whatever the underlying, undiscovered reason, — it gradually, 
so to speak, "gets under the skin". One is lured by its tone-quality, its 
possibilities of tone-color, of nuances, until, in striving, one creates, in a 
sense, something which means the happiness which we are all seeking. 

It may be that some who have experienced success claim a right to 
their individual mode of expression on that account. It may be that 
others through sheer force of habit or of training, feel lost without this 
means; but I feel there is a deeper note — a note that sounds through all 
phases of life itself. It is this: music is not just a means of self-expression; 

I 117 1 


it is a means of communication, of mutual understanding; music is a 
language! And this deeper note in the analysis as to why one develops 
muscles which have a death-grip upon a particular means of musical 
inter-communication must be the key-note to the old tale of Love — Love 
for music itself. Music is our language ! 

We are only too well acquainted with the lives of acclaimed masters 
of musical art, their achievements, their message to humanity. Their 
attainments have come not by a royal road. No, these have surmounted 
summits because the ascent through hardship could not quench the fire and 
thirst within — nourished, both, by Love of music. 

We are not so intimately acquainted, however, with those other 
musicians, who devote whole lives to — Art. These are they who, unrec- 
ognized, patiently toil, in order to pass on the torch, begging that its 
flame may never die. And these know neither gain nor glory! Is this 
not a manifestation of the lure — love of music for music's sake? 

I feel that if I had only one visible evidence of cultural education, I 
should want it to be music. Music trains the hand, the head, the heart. 
Music is the great emotional leveller, wherein alone we speak to each 
other in the esperanto of the soul. Music is, for the musician, the Way 
of Life! 

tt 118 1 

Rare Books In the Library 


Editor's Note : This is the second and concluding portion of the descriptive 
analyses begun by Dr. Beck, in the January number of Overtones; in this 
first portion he discussed tivo Antiphonaries contributed to the Library of 
the Institute by Mr. Cary William Bok, ivhile the books treated here ivere 
the gifts of Mary Louise Curtis Bok- 


T would be difficult to find a better example to show how 
insignificant is the relationship between physical appearance and 
intrinsic value of literary or cultural curios than the following. 
Here we have before us a tiny musical manuscript, 11 pages of 
music, each page measuring 4 by 5 inches, or a total of not quite two square 
feet of musical text. Transcribed on one of the leaves of either of the 
two Antiphonaries that we have analyzed, it would not even fill one 
page. And yet what a difference there is between the two documents! 
The artistic, historic, and cultural interest of the Antiphonaries is rather 
limited; if they are beautifully decorated they may be a source of esthetic 
enjoyment to our eyes; if they are signed and dated, they may enrich the 
list of copyists; they may or may not contain compositions that are found 
nowhere else. As a rule their value is reduced to that of a mere historic 
representative of the family of liturgical song books that were copied and 
recopied, for nearly one thousand years, in thousands and thousands of 
monasteries and churches. So little was the artistic value of these choir- 
books appreciated that, after they had done their duty, they were often 
sliced into strips for bookbinding purposes, or used for covering lard and 
jelly pots. Fortunately the time has come when these venerable relics 
of the glorious art of church music are being rescued from the vandalism 
of bygone days, and when they find, at last, a shelter in the libraries of 
enlightened halls of the Muses. 

How differently are we moved by the aspect of the modest scrap book 
of organ preludes before us! We know the name of its author; the place 

I 119 1 





1 totf 

I 120 1 


where he compiled it is indicated; probably it is the oldest manuscript 
extant of early organ preludes with pedal parts; and, finally, it is the score, 
in which there is found for the first time in the history of musical notation, 
a systematic use of vertical strokes in the function of measure bars. All 
these points taken together make of this little manuscript a milestone in 
the field of musical notation as well as in the very history of organ music. 

The manuscript begins with a title-heading written by the same hand 
that wrote the rest of it. This title reads: Incipiunt prceludia diversarum 
notcirum secundum modernum modum subtiliter et diligenter eolhetd, cum 
mensuris diversis hie in figuris dnnexis per fratrem Adam Ileborgh anno 
domini 1448 tempore sui rectoriatus in Stendall. — "Here begin the preludes 
of various forms according to modern custom, collected, with discrimina- 
tion and diligence, with the different measures here added in notes by 
brother Adam Ileborgh, in the year of our Lord 1448, during his rector- 
ship in Stendall." 

The first example follows right under this title : Sequitur preambulum 
in C et potest variari in d f g a. The musical examples are generally 
written on staves of 8 lines, sometimes only 6 or 7, with, at the head of 
the staves, the key indications: c in the center, g above, and f below. 
The notes of the melody for the manual are the diamond-shaped forms of 
the ancient Semibrevis and Minima, all black, with the exception of 
pages 9 and 10 where he uses the empty diamonds. The notes for the 
pedal part are the ancient Longa and its cognates, alternating with the 
traditional letter symbols, c d e f g a h, written indifferently in capitals 
or in small letters. Pedal rests are indicated by the word "pausa" or its 
abbreviations. On page 4 the author reveals indirectly his nationality in 
quoting a German song : Mensura trium notarum supra tenorem: Frowe 
al myn Jioffen an dyr lyed. 

The melodic parts of these preludes show some interesting thematic 
developments, but the pedal parts do not yet take an active part in the 
rhythmic life of the composition. They are long drawn basses of a kind 
akin to the ancient bourdons. If the esthetic value of these preludes is 

I 1211 


rather modest, from our modern point of view, we must not forget that 
we are here in presence of an art in its cradle stage. Adam Ileborgh wrote 
for the benefit of young organists of his days and we must give the inventor 
credit for the achievement that his innovations represented then, as 
compared with the musical practice that preceded him. It is the privilege 
and the duty of the historian of music to study these venerable monuments 
and to determine the role which they played in the evolution of music 
as a science and as an art. 














T tnder THIS title, Johannes Gazoldi, an ardent admirer of Pietro Aron, 
^ but otherwise unknown, sings the author's praise in six enthusiastic 
hexameters : 

Si vis scire modum generosa juventa cdnendi 

Petrus Aron cldrus Musicus arte docet. 

Edocet ut coelum numeris movedtur, et dkd 

Orgdnd pulsentur voceque sdxd movet. 

Attrdhit hie sylvds, Idbentid flumind sistit, 

Treiicius vdtcs cedere jure potest. 

(Translated) : 

If you wish to learn, eager youth, the right way of singing, 
The famous musician Petrus Aron will teach you with art. 
He shows how the heavens are moved by numbers, 

I 122! 


How the big organs are played, and, with the voice, he moves rocks, 

He bewitches the woods, he stops the flow of streams, 

The Thracian singer (Orpheus) may rightly give up his place. 

After the customary dedication to his superior, Monsignore Sebastiano 
Michele, there follows a complete table of contents of the two books into 
which the work is divided, with 40 chapters to the first and 41 to the 
second book. 

The pages of the book are not numbered. In the lower right hand 
corner of the sheets of 4 leaves (8 pages) there are the usual signs for the 
binder, in alphabetical order, from a for the first, or title sheet, and A for 
the text, to letter O, with two additional leaves, which makes in all 
58 leaves or 116 pages. 

Following the table of contents there is a full page plate representing 
the master in the performance of his duties. He is sitting on an armchair, 
his head resting on his right arm, a book in his left hand. The pupils, all 
men of mature age, seem to be debating in front of a table covered with 
musical instruments and books: Viola, Luto, and Flauto. 

The first chapters of both books, and also the special chapter on the 
"Monachordo" and the "Aggiunta" are adorned with illuminated capital 
vignettes, with typical Italian Renaissance ornamentation. Most chapters 
begin with plainer capital vignettes in black. 

On the outside cover of the binding, which seems to be original, there 
is printed in gold the title: Toscdnello. Who or what is Toscanello? 
No such name is known in lists of composers. But we will find the 
answer within the book itself. Indeed, in the sixth chapter we find the 
solution: "My Toscanello will be read, for I wished to give it this name 
in honor of my native country." So "Toscanello" means: My work 
dedicated to my beloved Toscana. 

Pietro Aron was born in Florence in 1490 and devoted his life to the 
study of music, practical as well as theoretical. He may be counted 
among the most influential musical scholars of the Italian Renaissance. 
Unlike the other writers on music of those times, he decided to compose a 

I 123 1} 



i.» .*-_ .^p. 


eMen N n 



B B BB B, B . 


s s L U5 L_ Uj 




v (^ 

rS-i*' ' \ 


Hk I &e 


I 124! 


treatise, not in Latin, as was the rule, but in Italian, in order to give the 
musical youth of his country the benefit of his wide experience. In the 
"Aggiunta" he states: "These are the precepts which I judged, with a 
fitting amount of reason, useful and sufficient to those that know no 
Latin, if they wish to enter into the distinguished College of Musicians 

I have abstained from questions too elevated, and from discussions, 

but of things pertaining to the practice of singing and of composing songs, 
I have omitted nothing that seemed necessary, with such a balance that 
brevity should not engender obscurity, nor length, superfluity." 

The Toscanello, therefore, is a handbook, a practical introduction into 
the science of writing and singing or playing of musical compositions 
according to the musical standard of the first quarter of the sixteenth 
century. Whenever it is necessary, Pietro Aron illustrates his precepts 
with fitting examples. What gives him an especial authority is the fact 
that he is not satisfied with theorizing; he bases his musical criticism on a 
careful analysis of contemporary compositions selected from names such 
as Josquino, Giovanni Ottobi, Antonio di Fevin, Richafort, Constanzo, 
Longheval, Gerdeloth, Piero de la rue, Lherithier, Alessandro Agricola, 
Japart, Compere, Isach, Obreth, Orto, etc. Several of the composers 
whose works Aron mentions in his Toscanello are otherwise unknown 
as yet. 

Aron is not a reactionary in his science; he is the first to condemn the 
old way of writing one part after the other, and he may thus be called a 
pioneer in the vertical, harmonic treatment of the several voices; his 
writings are an invaluable monument in the field of musical history, 
notation, and composition. 

The copy owned by the library of The Curtis Institute of Music is 
the third, revised, and enlarged edition printed in the year 1529. The 
previous editions are dated 1523 and 1525. 

I 125! 

Student Activities 


he eleventh in the present season's series of Students' Con- 
certs was that given on the evening of February 10 when a 
Wind Ensemble, under the direction of Marcel Tabuteau, made 
its debut in the following unusual programme: Beethoven's 
Quintet in E flat major, Opus 71, for Flute, Oboe, Clarinet, Bassoon, and 
Horn; Paul de Wailly's Aubade for Flute, Oboe, and Clarinet; La Danse 
de la Sorciere, by Alexandre Tansman, for Flute, Oboe, Clarinet, Bassoon, 
Horn, and Piano; Gabriel Pierne's Pastorale Varie'e for Flute, Oboe, 
Clarinet, Two Bassoons, and Horn. Those who participated were Maurice 
Sharp and Richard Townsend, Flutes; Robert Bloom, Oboe; Robert 
McGinnis, Clarinet; Ervin Swenson and William Santucci, Bassoons; 
Henry Whitehead and James Thurmond, Horns; and Theodore Saidenberg, 

Concerts announced to be given soon are two recitals of Chamber 
Music by students in ensemble-playing, directed by Louis Bailly, on the 
afternoons of February 17 and 27, and a recital of Harp students of Carlos 
Salzedo on. the evening of February 24. 


RTISTSTU DENTS again participated in a Philadelphia Grand Opera 
Company performance when on February 6 an all-star cast 
was assembled in Lohengrin, the first German opera to be presented by 
the company. Among the guest artists were Margaret Matzenauer, 
Marianne Gonitch, Russian Soprano, making her Philadelphia debut, 
Josef Wolinski, Chief Caupolican, Augusto Ottone, and Leo de Hierapolis. 
The Curtis Institute was represented by Selma Amansky, Agnes Davis, 
Ruth Gordon, and Helen Jepson who sang the parts of the four Pages. 

In the performances of Pagoletto (February 20) and Tiefland (February 
26) to be given within the next fortnight, a large number of artist-students 
will participate in solo parts. 

I 126 1 



The CURTIS orchestra made its first concert appearance for the sea- 
son on the evening of February 5 before the Philadelphia Forum. A 
second concert was given on February 12 in Goodhart Hall, Bryn Mawr 
College, Bryn Mawr. Under the leadership of Emil Mlynarski, Musical 
Director of The Philadelphia Grand Opera Company as well as Head of 
the Departments of Orchestra and Opera in the Institute, the Curtis 
Orchestra amply maintained the high standard set by its performances in 
past seasons. The programme played was as follows : Beethoven's Over- 
ture to Egmont; Brahms' Double Concerto in A minor, for Violin and 
Violoncello with Orchestra; Richard Strauss' Symphonic Tone-Poem, 
Don Juan; Cesar Franck's Symphonic Variations for Piano and Orchestra; 
and Smetana's Overture to The Bartered Bride. The following three 
artist-students appeared as soloists with the orchestra : Tatiana de Sanze- 
witch, Piano; Judith Poska, Violin; and Tibor de Machula, Violoncello. 

On March 9 The Curtis Orchestra and the above-named soloists will 
make their third appearance of the season; this will take place at Symphony 
Hall in Boston. 


The third in the series of Chamber Music Concerts in the Museum 
at Fairmount took place on the evening of January 26 when a first 
performance in Philadelphia was given of ProkofierT's Ouverture sur des 
themes Juifs, played by Florence Frantz, Piano, the Swastika Quartet, 
and James Collis, Clarinet. Other works played were Mozart's String 
Quintet in C minor, with the second viola part supplied by Leon Frengut, 
and the Brahms Piano Quintet, Opus 34, with Miss Frantz again at 
the Piano. 

The Swastika Quartet also appeared in special concerts before the 
Music School of the Henry Street Settlement, New York City, on January 
19, the Crescendo Club, Atlantic City, January 22, and the Community 
Institute of Washington, D. C, on January 29. These appearances 
included performances of the Schumann Piano Quintet in E flat major and 
the Cesar Franck Piano Qiuntet in F minor in which Joseph Levine assisted 
at the Piano. 

I 127 1 



IN the course of twenty-five concerts being presented by The Curtis 
Institute this season before schools, colleges, clubs, and the like, a num- 
ber of changes in students who participated makes it seem desirable to 
review the concerts which have thus far taken place. 

November 18 — Columbia Borough School District, Columbia, Pennsylvania: 
Joseph Levine, Piano; Josephine Jirak, Contralto; Iso Briselli, Violin; Theodore 
Saidenberg, Accompanist. 

November 21 — University of Delaware, Newark, Delaware: Jeanne Behrend, 
Piano; Arthur Holmgren, Baritone; Judith Poska, Violin; Theodore Saidenberg, 

November 23 — George School, George School, Pennsylvania: Max Aronoff, 
Viola; William Harms, Piano; Lois Putlitz, Violin; Florence Frantz, Accompanist. 

November 25 — Western Maryland College, Westminster, Maryland: Clarence 
Reinert, Bass-Baritone; Paul Gershman, Violin; Helen Jepson, Soprayio; Theodore 
Saidenberg, Accompanist. 

December 6 — Westtown School, Westtown, Pennsylvania: Paul Gershman, 
Violin; Daniel Healy, Tenor; Joseph Levine, Piano; Theodore Saidenberg, Accom- 

December 13 — State Teachers' College, East Stroudsburg, Pennsylvania : Martha 
Halbwachs, Piano; Edna Hochstetter, Soprano; Carmela Ippolito, Violin; Sonia 
Hodge, Piano; Earl Fox, Accompanist. 

December 14 — Cedar Crest College for Women, Allentown, Pennsylvania: Same 
as above. 

January 9 — The Contemporary Club, Trenton, New Jersey : Tatiana Sanzewitch, 
Piano; Arthur Holmgren, Bass-Baritone; Paul Gershman, Violin; Joseph Rubanoff, 

January 12 — The Hill School, Pottstown, Pennsylvania: Florence Frantz, Piano; 
George Pepper, Violin; Max Aronoff, Viola; Theodore Saidenberg, Accompanist. 

January 22 — Crescendo Club, Atlantic City, New Jersey: The Swastika Quartet; 
Leon Frengut, Viola; Joseph Levine, Piano; Edna Phillips, Harp. 

January 30 — Marywood College, Scranton, Pennsylvania: William Harms, 
Piano; Florence Irons, Soprano; Ladislaus Steinhardt, Violin; Earl Fox, Accompanist. 

January 31 — State Teachers' College, East Stroudsburg, Pennsylvania: Same as 

February 2 — The Hill School, Pottstown : Edna Phillips, Harp; Conrad Thibault, 
Baritone; Philip Frank, Violin; Yvonne Krinsky, Accompanist. 

February 5 — Haddon Fortnightly Club, Haddonfield, New Jersey: Selma 
Amansky, Soprano; Beniamino Grobani, Baritone; Martha Halbwachs, Piano; Sonia 
Hodge, Piano; Earl Fox, Accompanist. 

1128 1 


Other concerts announced to take place in the near future are those in 
Dorset, Vermont (February 15), Norristown, Pennsylvania (February 19), 
University of Delaware (February 20), and The Hill School (March 2). 
Thus these recitals are presenting our artist-students to an ever-widening 


Herman S. gatter, Tenor, was one of the most prominent and pleas- 
ing of the soloists to appear in the performance of Handel's The 
Messiah presented in the Academy of Music on December 27 by the 
Philadelphia Choral Society. This event was announced as being "the 
first time in the history of the world that a city has sponsored a per- 
formance" of this great choral work. 

Genia Wilkomirska, Soprano, and Beniamino Grobani, Baritone, ap- 
peared as soloists in a concert of Russian music before the Labor Institute 
on Locust Street, Philadelphia, on January 19. The Casimir Quartet also 
participated in this programme. 

Rose Bampton, Contralto, sang in conjunction with Albert Stoessel 
on January 26, in a concert given in Worcester, Mass. Arthur Holmgren, 
Bass-Baritone, sang over Station WIP on January 29, as a feature of the 
Newton Coal Forum; Florence Irons, Soprano, is announced to sing under 
the same circumstances on February 19. 

Ethel Stark, Violin, accompanied by Theodore Saidenberg, appeared 
in a recital of works by Bach, Chausson, Kreisler, Bloch, Vieniawski, and 
Vieuxtemps in Windsor Hall, Montreal, Canada, on January 30. 

Oscar Shumsky was accompanied by Fritz Kreisler when he played 
some of the latter's own compositions at a musicale given by James Speyer 
in New York. In other numbers he was accompanied by Ernest Schelling. 
In Philadelphia he was soloist at a concert of the Mendelssohn Club on 
January 20. 

Tibor de Machula, Violoncello, appeared before the Treble Clef Club 
of Philadelphia on January 23. Yvonne Krinsky assisted him at the Piano. 

I 129! 

Faculty Activities 


he SIXTH Faculty Recital of this season was presented on Janu- 
ary 15 by Horatio Connell, Baritone, with Rose Bampton, 
Contralto, collaborating, and Mr. Ellis Clark Hammann at 
the Piano. The programme, following Mr. Connell's practice 
in recitals here during the past two years, was devoted to songs by one 
composer — this time the works of Johannes Brahms. The selection was 
skilfully arranged to reveal Brahms at his best during several periods of 
his life. The first group included Minnelied, Sonntag, Verrdth, and Auf 
dem Schiffe, followed by the famous Vier crnste Qestinge. The third 
group was made up of seven songs from the Zigeunerlieder — He! 
Zigeuner!, Hochgethurmte Bjmd-Fluth, Wisst ihr wdnn mein ICindchen?, 
Brduncr Bursche, Kommt dir mdnchmdl in den Sinn? , and Tipslein dreie. 
The last group presented four duets for Contralto and Baritone — Die 
Nonne und der Twitter, Vor der Thiir, Es rduschet dds Wdsser, and Der 
J tiger und sein Liebchen. 


CONCERTS by Josef Hofmann during early February included many 
appearances scheduled as part of his Western Tour — February 4, 
Seattle, Washington; February 6, Spokane, Washington; February 10, 
Portland, Oregon; and February 14, Stockton, California. Further 
concerts will occur as follows: February 17 and 23, San Francisco, Cali- 
fornia; February 25 and March 2, Los Angeles, California; March 3, San 
Diego; March 5, Sacramento; March 9, Chicago, Illinois; March 11, 
Milwaukee, Wisconsin; while his return to the East will be marked by 
a second Carnegie Hall recital in New York on March 15. 

Efrem Zimbalist ended his Pacific Coast Tour of fourteen recitals 
between January 2 and February 2 and since then has played on February 4 
in Lubbock, Texas, and on February 11 and 12 in Charleston, Illinois. 
He will return to the East to appear as soloist with the Philadelphia 
Orchestra in Washington, D. C, on February 18 and in Baltimore, Mary- 
land, on February 19. Other concerts during the coming four weeks will 
occur as follows: February 25, Fort Wayne, Indiana; February 27, Bloom- 
ington, Illinois; March 3, Palm Beach, Florida; March 9, Hartford, 



Connecticut; with a fourth appearance in New York scheduled for 
March 16. 

Lynnwood Farnam is another artist-teacher of the Institute who has 
been giving recitals in the Far West. Beginning in the East his itinerary 
has included New Brunswick, New Jersey; Northampton, Massachusetts; 
Sherbrooke, Province of Quebec; Westmount, Province of Quebec; To- 
ronto, Ontario; Lincoln, Nebraska; Portland, Oregon; Salem, Oregon; 
Eugene, Oregon; Seattle, Washington; San Francisco, California; Los 
Angeles, California; Greencastle, Indiana; Oberlin, Ohio; Yampton, Ohio. 
He may play also in his birthplace, the little town of Sutton, Province 
of Quebec, where a small new two-manual organ has been secured. In 
addition to his concert appearances, Mr. Farnam has been occupied with 
arranging music for the organ — from Percy Grainger's To a Nordic 
Princess to the two-clavier movements of Bach's Kunst der Fugc. 

Emilio de Gogorza was heard in an hour's broadcast over WEAF's 
network on Thursday evening, January 16, in a programme of orchestral 
and vocal works coming largely from Spain and Mexico. Other artists 
who shared the broadcast were Olga Albani, Soprano, and Andres Segovia, 

Louis Bailly will appear as soloist with the St. Louis Symphony 
Orchestra on March 7 and 8. 

Felix Salmond gave a recital at the Peabody Institute, Baltimore, 
Maryland, on January 31. Concerts to take place during the coming four 
weeks include February 27, Claremont, California; February 28, Pasa- 
dena, California; March 7, Lock Haven, Pennsylvania; March 9, New 
York City. 

Carlos Salzedo will be soloist with The New York Chamber Music 
Society on February 16, when he will play Andre Caplet's Contc fantastique 
(after Edgar Allen Poe) for harp and string quartet, assisted by The New 
York String Quartet. On February 17, he will contribute to the Beethoven 
Association's monthly concert. On March 3, Mr. Salzedo's Concerto for 
Harp and Seven Wind Instruments will be played in Symphony Hall, 
Boston, by Lucile Lawrence and the seven first wind instrumentalists of 

I 131! 


The Boston Symphony Orchestra. On the same programme Mr. Salzedo 
will conduct an ensemble of seventy-five harpists who will gather together 
on the occasion of the Tenth Annual Harp Festival, organized by The 
National Association of Harpists, Inc., of which he is President. 

On February 17 Abram Chasins will appear in Philadelphia as soloist 
with the Philadelphia Orchestra. He will play his own Piano Concerto. 

Note: In reporting Harriet van Emdcns debut in The Philadelphia 
Qrand Opera Company's presentation of Mozart's Serraglio, she was 
inadvertently referred to as a Contralto. Miss van Emden is a Soprano. 

Academic Department 

new course recently inaugurated in the Academic Department 
is one offering a General Introduction to Science. Designed 
primarily for Institute students of high school age, it will 
provide an approach towards the understanding of various 
phenomena of biology, physics, chemistry, and the like. The work is being 
conducted by Mentzer Russell Wehr, M.A., who instructs also in the 
Department of Physics of Haverford College. 

Much interest has been shown by the younger students in the initial 
broadcasts of "The American School of the Air," an educational experi- 
ment in radio broadcasting which promises varied programs in the fields 
of Makers of American History, Literature, Civics, Art, Music, Health, 
Nature Study, and International Good Will. These programs may be 
heard in the Phonograph room on Tuesdays and Thursdays from 2:30 
to 3:00. 

An interesting addition to the reference material of the Academic 
Department is the recently acquired Cosmopolitan Library of Stereographs, 
containing more than 4,000 separate views. There are also six stereo- 
scopes through which to study these widely varied reproductions which 
include views of animals, twenty or more countries, many of the United 
States, our greatest cities, national parks, the Grand Canyon, Yosemite 
Valley, and the like, as well as an entire Burton Holmes Trip around the 

I 132 1 


pi the TENTH of the series of twenty half-hour radio concerts 
broadcast over the Columbia System (Station WCAU in 
Philadelphia and Station WABC in New York, with a nation- 
wide network of stations), on Friday evening, February 7, at 
10 :30, The Curtis Institute of Music presented nine of its artist-students 
in the following programme: Serge ProkofiefPs Overture on Hebreiv 
Themes for Piano, String Quartet, and Clarinet, played by Miss Florence 
Frantz, the Swastika Quartet, and James Collis; four songs by Miss 
Florence Irons, Soprano, accompanied by Joseph Rubanoff, including Trees 
by Oscar Rasbach, My True Love by Henry Hadley, Non Piu by Pietro 
Cimara, and Yesterday He Brought Me lapses (in German) by Joseph 
Marx; with a last group of pieces for the Violin played by Miss Lily 
Matison, accompanied by Mr. Rubanoff, Ravel's Piece en forme de 
Habanera, Lily Boulanger's Nocturne, and Variations on a Theme, by 

The Eleventh programme to be broadcast was played on February 14 
by The Curtis Orchestra, conducted by Emil Mlynarski. There were two 
numbers, Richard Strauss' Don Juan and Smetana's Bartered Bride. 

The Twelfth concert, which will be heard on February 21, will include 
works for Piano, Soprano, and Violin. Lilian Batkin, who is only 14 
years old, is to play Mendelssohn's Epndo Capriccioso, Opus 14 and 
Scherzo in E minor. Selma Amansky, Soprano, will sing an Aria from 
Mascagni's Cavalleria I{usticana, Wintter Watts' Blue Are Her Eyes, 
and the Jewel Song from Gounod's Faust. Paul Gershman, aged 17 years, 
plays Wieniawski's Souvenir de Moscow and Spanish Serenade by Cham- 
inade-Kreisler. Theodore Saidenberg will accompany the last two groups. 

A Thirteenth programme will be played on February 28 by The Curtis 
Orchestra, conducted by Emil Mlynarski. Among the numbers to be 
broadcast will be the First Movement of Dvorak's Concerto for Violoncello, 
Opus 104, with Tibor de Machula as soloist, and Balakirew's Islamey. 

I 133 1 



















Glimpses of the Institute 


s ONE WALKS EAST from Rittenhouse Square, one comes upon 
The Curtis Institute of Music, with its four grey buildings of 
stone clustered close together, a vestige of old Philadelphia 
^ surrounded on either side by towering apartments and hotels. 
One narrow building fronts on the Square, while the other three are 
entered from Locust street — first the Main Building, then Casimir Hall, 
with its fine iron doors, and lastly, a completely detached structure, com- 
monly referred to as "1720 Locust street", although this building actually 
houses the Departments of Theory and Stringed Instruments (including 
the Harp Department), as well as the offices of the Student Counselor and 
the Dining-Room. 

This fine old four-story stone building, a superb example of Roman 
and Renaissance influences in architecture, was formerly the residence of 
the Cramp family, whose connection with the world of ship-building is a 
matter of several generations, and it was acquired along with the other 
buildings at the time of the founding of The Curtis Institute of Music. 
The accompanying photograph of the Reception Room of this building, 
viewed from the adjoining office of the Student Counselor, can only suggest 
the character of the many large and beautifully proportioned rooms to be 
found here. Richly carved panelling and pilasters, finished in a restful 
ivory tone, full-length mirrors, deep windows, marble fireplace mantels, 
soft Chinese rugs, and harmoniously chosen furnishings and objects of art 
serve throughout the entire structure to maintain the quiet dignity of a 
fine residence — eminently more suitable as a background for the study 
of the art of Music than some modern and conventional assembly of 
schoolrooms. Any one being ushered into the Reception Room for the 
first time, will at once catch the characteristic and prevailing atmosphere 
of the entire Institute and will comprehend the response which students 
and teachers always give to these unobtrusive but vital forces amid which 
they work. 

I 1351 

Music Calendar 

February 15-28 

15 — Philadelphia Orchestra, Academy of Music, evening. 

16 p r o Arte String Quartet, Chamber Music Association, Bellcvue-Stratford Ball 

Room, afternoon. 
17 — Students of Louis Bailly in Chamber Music, Casimir Hall, afternoon. 
17 — Philadelphia Orchestra, Abram Chasins, Piano, evening. 
18 — New York Metropolitan Opera Company, Academy of Music, evening. 
19 — Beniamino Qrobani, Baritone, Philadelphia Forum, evening. 
20 — "Rigoletto", Philadelphia Grand Opera Company, Academy of Music, 

21 — Philadelphia Orchestra, Vladimir Horowitz, Piano, afternoon. 
21 — Broadcasting Twelfth Radio Concert, Curtis Institute, evening. 
22 — Philadelphia Orchestra, Horowitz, evening. 

23 — Rosa Ponselle, Soprano, Perm Athletic Club, evening. 

24 — Students of Carlos Salzedo, Casimir Hall, evening. 

24 — Philadelphia Orchestra, Forum Concert, evening. 

25 — New York Metropolitan Opera Company, evening. 

26 — "Tiefland", Philadelphia Grand Opera Company, evening. 

27 — Studeyits of Louis Bailly in Chamber Music, Casimir Hall, afternoon. 

27 — "Elisir d'Amore", Philadelphia Civic Opera Company, evening. 

28 — Philadelphia Orchestra, afternoon. 

28 — Broadcasting Thirteenth Radio Concert, Curtis Institute, evening. 

March 1-1$ 

1 — Philadelphia Orchestra, evening. 

2 — Casimir and Swastika Quartets, Maurice Sharp, Flute, Pennsylvania Museum 

at Fairmount, evening. 
3 — N ew York Philharmonic Symphony Orchestra, Toscanini conducting, evening. 
4 — New York Metropolitan Opera Company, evening. 
6 — "Traviata", Philadelphia Grand Opera Company, evening. 
7 — Philadelphia Orchestra, Tullio Serafin conducting, afternoon. 
7 — Broadcasting Fourteenth Radio Concert, Curtis Institute, evening. 
8 — Philadelphia Orchestra, Serafin, evening. 

9 — Jascha Heifetz, Violin, Penn Athletic Club, evening. 
10 — Philadelphia Orchestra, Serafin, evening. 

13 — "II Trovatore", Philadelphia Civic Opera Company, evening. 
14 — Philadelphia Orchestra, Emil Mlynarski conducting, afternoon. 
14 — Broadcasting Fifteenth Radio Concert, Curtis Institute, evening. 
15 — Philadelphia Orchestra, Mlynarski, evening. 

I 136 1 


The Monthly Publication of The Curtis Institute of Music 



rlttenhouse square 
Philadelphia - Pennsylvania 

Vol. I— No. 6 March, 1930 





Editorial Comment 139 

Notes on the Evolution of a Conductor Emil MlyndrskS 141 

The Curtis Orchestra — Six Years Old Charles Demurest 144 

Student Activities 150 

Faculty Activities 156 

Radio 158 

Glimpses of the Institute 

V. The Library 159 

Music Calendar 162 


Louis Bailly, Head of Departments of Viola and Chamber Music. . . 138 

The Curtis Orchestra 148, 149 

Soloists with The Curtis Orchestra 

Tatiana de Sanzewitch 152 

Judith Poska 152 

Tibor de Machula 152 

Reading Room of The Library 160 

Permission is granted to reproduce parts of this magazine provided due acknowledgment is made to Overtones 
Copyright 1930 by The Curtis Institute of Music. Printed in the United States of America 


LOUIS BAILLY, Head of Departments of Viola and Chamber Music 

I 138 1 

Editorial Comment 


he entire NATION, during the past two months, has paid deep 
and expressive tribute to the memory of one of its citizens, 
whose death has taken from us a figure almost unique among 
his contemporaries for the wideness of his interests and the 
originality of his activities. Edward W. Bok has long been distinguished 
as editor, publicist, author, educator, philanthropist, civic benefactor, 
lover of beauty, and humanist. The entire scope of his far-reaching enter- 
prises can not be exhaustively measured. Many details of his services to 
his countrymen will probably never be known. One remarkable feature 
of his many-sided life was his fine love of music, cultivated and expressed 
to a degree perhaps without parallel among men who otherwise share his 

While Mr. Bok did not officially participate in the development or 
administration of The Curtis Institute of Music, he gave always an 
encouraging and sympathetic support to his wife, Mary Louise Curtis Bok, 
Founder and President of the school, in her difficult task of creating and 
perpetuating this institution. It is a matter of knowledge to many that 
he was instrumental in helping to translate a visionary project into terms 
of reality, and that in the early days of The Curtis Institute he gave his 
personal attention to many of the details of fostering the new-born 
enterprise. And it is perhaps also to his capacity for forming friendships 
with great artists that we owe our good fortune in having as Director 
of the Institute, Head of the Department of Pianoforte, and Instructor 
of that instrument — Josef Hofmann. 

Outside of the Institute, Edward Bok's influence in the musical welfare 
of Philadelphia was outstanding, greater than that of any other individual. 
During a number of hazardous years, it was his activity in the Academy 
of Music Corporation which developed and strengthened the uncertain 
affairs of the Academy of Music so that it could be returned to its owners 

f 139 1 


a profitable and sound institution assured of future life. As it has been 
well expressed, he made the Academy of Music "a center of Philadelphia's 
cultural activity". 

One of the several benefits to Philadelphia which resulted from this 
period was his founding and sponsoring of The Philadelphia Forum, with 
its interesting seasons of concerts, lectures, dramas, and entertainments 
brought, through their moderate cost, to a very extensive audience. It 
may perhaps be revealing a secret here to state that Mr. Bok anticipated 
deficits for the first years of the Forum and was prepared to meet these 
personally; fortunately for the success of the Forum, his anticipations were 
not realized. 

Of still greater note was his work for The Philadelphia Orchestra 
Association. During a five-year period here, Edward Bok anonymously 
met the deficits of the orchestra. In 1919, it was his energetic campaigning 
which brought about the raising of an Endowment Fund of more than 
one million dollars, thus assuring the financial soundness of the Phila- 
delphia Orchestra. During more recent years, his interests were concen- 
trated on planning such matters as a new Orchestra Hall, radio broadcasts 
of orchestra programmes, concert tours, and the like. 

One last example of Edward Bok's interest in music, this time coupled 
with his fondness for birds and flowers and for one of the most charac- 
teristic features of his native land, Holland, was the creation of the Bird 
Sanctuary and Singing Tower at Mountain Lake, Florida, so beautifully 
described in Mr. Bok's own words in the December issue of this magazine. 
This superb tower, one of the finest public monuments in the United 
States, contains undoubtedly the best carillon that we have, situated in a 
most beautiful and appropriate background for such a musical instrument. 
The Tower, with its lovely bells and serene outlook, in its incomparable 
setting of flowers, shrubs, trees, birds, and mirroring waters, remains 
an enduring and comprehensive symbol of all that was closest to the 
heart of Edward Bok. Once achieved, it was not kept to himself, but, 
characteristically enough, given to the nation. Surely it is fitting that he 
should find Sanctuary there — and that he lies now near the base of the 
Tower he loved so well. 

I 140] 

Notes on the Evolution of a Conductor 


Editor's Note : This article has been submitted by way of reply to the Open Letter 
of the Director which appeared in the November issue of Overtones. Similar articles 
by other faculty members will be printed in the numbers to follow. 

T IS NOT EASY to look back over almost six decades to my 
childhood experiences in the early 1870's in a small Polish 
frontier town and determine precisely what conditions inclined 
me towards a musical career. Environment must always play 
an important part in these influences, and in our small provincial town my 
mother, who was an excellent pianist, had made our home the resort of 
the musical folk about us. There are the usual stories which fond parents 
love to repeat as proof positive of the "symptoms of genius" of their little 
ones, and my case is no exception. However, in addition to the customary 
pictures of the little boy preferring to remain indoors instead of amusing 
himself outside, so that he may creep under the pianoforte while his mother 
is playing and thus gratify an aroused appetite for musical sounds — besides 
such "touching" scenes, there is one amusing episode which seemed to 
impress my family greatly, an occasion when I — not yet eight years old — 
settled a visitor's speculation as to the pitch of the engine-whistle of a 
train passing nearby by declaring that it was G. 

My great excitement, shortly after this, on hearing the violin for the 
first time, settled the issue raised by my "amazing" pitch memory, and 
before very long I had completed forty lessons with an amateur violinist 
in the neighborhood, mastered a De Beriot concerto, and given my first 
concert to the townsfolk. The next step, and the real beginning of my 
musical life, was my entrance in the Petrograd Conservatoire, where at 
that time Leopold Auer was at the head of the violin department and 
Anton Rubinstein soon afterwards the chief of the whole school. 

For three years I first studied under Boehm, and I worked at com- 
position under Liadov. With pardonable pride I recall that Rubinstein 
displayed much interest in this section of my work. I had the good fortune 
to be included in the category of gifted students who were maintained as 
free scholars. Besides working at music, we were obliged to attend the 

I 1411 


"Gymnasium" for our general education, and success here was the require- 
ment of a first degree Diploma at the Conservatoire. During my ten 
years' study I was much influenced by the fascination of Hans von Biilow, 
who conducted the orchestra of the Imperial Russian Musical Society. A 
few advanced students were permitted free admission to rehearsals and 
concerts, and in this formative experience I may truly claim there lay the 
awakening of my ambition to become a conductor, a desire which there 
was, unfortunately, little opportunity for me to cultivate at this period. 

At the age of twenty or thereabouts, I was included among the leading 
violins of an orchestra organized by Rubinstein, an enterprise which 
through lack of subsidy lasted no more than three glorious years. Another 
great influence on me while in Petrograd was the honour of being appointed 
second violin in Auer's quartet party, accounted one of the best in Europe. 
Thus this trio of famous musicians, Rubinstein, Biilow, and Auer, exer- 
cised great force in shaping my character. There were also Tschaikowsky, 
with his brilliant works, and the Belaieff concerts to stimulate the ardent 

Following my wish to widen my experience of the world, the next 
years were spent in concert appearances in London and in Berlin, where I 
came under the influence of Wagner's operas and the spell of Joachim. 
An appointment as professor of the violin at the Conservatoire and leader 
of the symphony orchestra brought me next to Odessa, where I formed 
a successful string quartet and occupied myself with further composition, 
including the writing of the Violin concerto in D minor which was selected 
by Nikisch and Reinecke, among other judges, to receive a prize offered 
by Paderewski to Polish composers. Some years later, when the concerto 
was first performed in Petrograd, I had the honor to conduct while Professor 
Auer played the violin solo. 

My ambition to fill a vacancy in the conducting staff of the Warsaw 
Opera led to the first really important position of my career thus far. 
Political conditions at the time had made it seem desirable to avoid both 
Polish and Russian conductors, and to appoint Italians. Persevering in the 
face of this situation, I was at last permitted to conduct a rehearsal of 
Carmen, a work with which happily I was well acquainted. The 

I 142 1 


circumstances were unfavorable, since the prima-donna did not think it 
necessary to attend a rehearsal of such a familiar work. However, luck 
favored me, and I was asked to conduct the performance on the next day. 
Things went smoothly enough until the second Act, when "Carmen" ran 
away from the band, and the trumpets on the stage were playing in their 
own time. Confronted with this prospect of chaos, I ungallantly ignored 
the lady and chose to keep the trumpets and orchestra together, thereby 
saving the situation. 

The events of the following years were less formative ones, and so may 
be passed over more briefly. With the erection of a fine Philharmonic 
Hall in Warsaw, we were able to develop the Symphony Orchestra, to 
which I soon gave my entire attention. Later, I was privileged to become 
director of the Warsaw Conservatoire. Guest conducting in Moscow and 
Petrograd, in London and Paris, led me in time to take over the conduc- 
torship of the Scottish Orchestra at Glasgow and Edinburgh and the 
Glasgow Choral and Orchestral Union. An experience which I greatly 
enjoyed was that of projecting, with the assistance of Thomas Beecham 
and Edward Elgar, a three-day Festival of British Music, in May, 1915. 
Following this I returned to the Warsaw Philharmonic, and after the war 
resumed my directorship of the Warsaw Opera and Conservatoire, where 
Polish traditions had at last been thoroughly established. While holding 
these positions, I was frequently invited as a guest conductor by the orchestras 
of Berlin, Paris, Vienna, Prague, Copenhagen, Bucharest, and the like. 

With such a career of wandering already behind me, is it any cause for 
surprise that I have not hesitated to make my present very interesting visit 
to the United States, with its thrilling architecture, its eagerness for modern 
music, its unceasing and dynamic energy? It has not been so strange, after 
all, for I have completed a virtual circle, finding in The Curtis Institute 
not only my former teacher, Professor Auer, but also a former pupil, 
Madame Luboshutz;. Best of all, I still have with me my two Loves — 
the Opera, with its pulsations of drama and music, and the Symphony 
Orchestra, with its limitless possibilities of expression in the noblest and 
purest of the arts. 

I 143 1 

The Curtis Orchestra— Six Years Old 


Mr. Demarest, Librarian of The Curtis Orchestra and Assistant Stage Manager 
of The Philadelphia Qrand Opera Company, has been a member of the staff of The 
Curtis Institute of Music since the days of its inception. Undoubtedly his close contact 
with the orchestra gives him a greater knowledge of it than any other person in the 
Institute. The article which he has very kindly contributed furnishes a brief but 
interesting account of the orchestra' s career up to the present date. 

he Curtis Orchestra met for the first time on November 14, 
1924 in the Common Room of the Institute. The material 
assembled, comprising students of the school and townspeople 
who played for an avocation, included many who had never 
before played in an orchestra, and others who had had considerable practice 
in local organizations. It was decided to divide this group into Senior and 
Junior sections which would meet on the same evening each week in 
different buildings of the Institute. Leopold Stokowski and Michael Press 
were the conductors. Each would arrive at seven o'clock and conduct one 
of the orchestras for an hour and at eight o'clock they would exchange 
orchestras. To aid those students who were inexperienced, members of the 
Philadelphia Orchestra were engaged to sit alongside their pupils and play 
during rehearsals. The first music received for the orchestra consisted of 
three Mozart Symphonies, the Jupiter, the Q minor, and the Efldt major— 
surely an auspicious augury for the artistic future of an orchestral organiza- 

The second year of the orchestra brought a new Associate Conductor in 
Thaddeus Rich, and a concert at the end of the season. The two orchestras 
were combined into one group over which Mr. Stokowski held remarkable 

f 144 1 


discipline. Not a sound or a movement escaped his observation; and when 
he stopped the orchestra to explain a passage in terms of an architectural 
design or embellishment, as he often did, the proverbial pin drop would 
have sounded loudly. Details were practised over and over and illumi- 
nated by means of a comparison or an anecdote. If a passage went badly 
each individual in the orchestra played it alone until the exact cause of the 
blemish was discovered. A chart of the orchestra was at the conductor's 
stand and the work of each player noted beside his name. Frequent changes 
of seating occurred — often in the same evening — and no one, whether 
concertmaster or a triangle player, had opportunity to become complacent. 

The first concert was given in the Ball Room of the Penn Athletic 
Club on a Sunday afternoon. There were three soloists: Elsa Meiskey sang 
an aria from Der Freischiltz; Shura Cherkassky played the first movement 
of the Rubinstein D minor Piano Concerto; and Lois Putlitz played the 
Symphonic Espdgnole of Lalo. The orchestra in its initial concert did not 
essay a complete symphony but played four shorter works including the 
Bach choral-prelude Wir glduben alV an cincn Qott, the Allegretto from 
Beethoven's Seventh Symphony, the Ddnse Macabre of Saint-Saens, and 
Finlandia of Sibelius. Sixty-four students and twelve members of the 
Philadelphia Orchestra took part in this programme and Mr. Stokowski 
and Mr. Rich alternated in conducting. 

The following year Mr. Stokowski was assisted by Dr. Artur Rodzinski 
who succeeded Mr. Rich as Associate Conductor. In the spring of 1927, 
the orchestra, now in its third year, presented a second concert, this time 
in the Academy of Music where all subsequent appearances in Philadelphia 
have been made. The orchestra had grown from sixty-four to eighty-six 
members and again twelve musicians from the Philadelphia Orchestra 
assisted. Beniamino Grobani sang two operatic arias with orchestral 
accompaniment, and the entire Fifth Brandenburg Concerto of Bach was 
played,' in which the solo parts were taken by Richard Townsend, Flute, 
Jay Savitt, Violin, and Jeanne Behrend, Piano. The orchestral works were 
a Handel Overture, the last movement of the Brahms Symphony in C 

I 145! 


minor, and the Prince Igor dances of Borodin. In the last number Mr. 
Stokowski greatly enhanced the effect by employing seven harps instead 
of the customary two. Both Mr. Stokowski and Dr. Rodzinski conducted. 


Dr. Artur Rodzinski took complete charge of the orchestra in its fourth 
season and in the two ensuing years of his leadership greatly enlarged the 
orchestra and its activities. His first programme, in the Academy of 
Music, Philadelphia, contained the "Nciv World 11 Symphony of Dvorak, 
the Oberon overture of Weber, Les Preludes of Liszt, and an aria from 
Mozart's II I{e Pastore sung by Charlotte Simons. This programme was 
repeated for The Philadelphia Forum. In the fifth year the orchestra 
played twice in Philadelphia and once in New York at Carnegie Hall. 
Tibor de Machula was the violoncello soloist in the Lalo Concerto and the 
Cesar Franck Symphony was the chief work on the programme. In the 
season of 1929-30 The Curtis Institute inaugurated broadcasting of student 
concerts from Casimir Hall; among the works presented over the radio by 
Dr. Rodzinski was Ernest Bloch's Concerto Qrosso for String Orchestra and 
Piano. Another departure for the orchestra in addition to radio broad- 
casting was the presentation of D'Albert's opera, Tiefland, at the Academy 
of Music on the evening of May twelfth. This production was given 
entirely by Curtis Institute students and it is significant to note that the 
majority of roles in the recent presentation of the same opera by The 
Philadelphia Grand Opera Company were assumed by the same singers 
who had appeared in the student performance a year ago under Dr. 
Rodzinski's leadership. 

With the coming of Emil Mlynarski, the orchestra commenced its 
present season, now already rich in accomplishments. Under Mr. Mly- 
narski 's genial and mature leadership, it has given three public concerts, 
including one in Boston at Symphony Hall on March ninth, during which 
the difficult and taxing tone poem of Strauss, Don Juan, was presented. 
Mr. Mlynarski has expanded the number of radio programmes for the 
year to seven, four of which have been offered up to the present time. In 
the field of opera too, the orchestra has developed. In addition to playing 
for the public performances of Mozart's little known opera, II Seraglio, 
and Mascagni's well-known Cavalleria P^isticana, presented by The 

I 1461 


Philadelphia Grand Opera Company, the orchestra has rehearsed many 
other operas for the benefit of vocal students who were about to make 
operatic appearances. 

No account of the orchestra, however brief, would be complete without 
mention of the orchestra library which has grown from the three Mozart 
symphonies to a remarkable collection of orchestral music. In addition to 
the representative works of the classical and romantic writers for orchestra, 
and the important contributions of the French and Russian composers of 
the past two decades, the library contains much music by contemporary 
writers of the importance of Strauss, Sibelius, and Ravel that is seldom 
accessible to students of music. The collection of orchestral instruments 
containing some rare early Italian double basses, many of the finest of 
modern French woodwind instruments, as well as some excellent speci- 
mens of America's best orchestral instrument makers, has been an important 
factor in the development of the orchestra. 

The Curtis Orchestra is a young organization with potentialities yet 
undeveloped. It will never have a permanent membership, as its purpose is 
to provide a training school for young musicians to gain orchestral experi- 
ence so that they may later take their places in professional orchestras. 
Already former members are to be found in the Philadelphia, the St. Louis, 
and the Cincinnati Symphony Orchestras. In spite of the changing per- 
sonnel, the work of Mr. Stokowski, Dr. Rich, Dr. Rodzinski, and 
Mr. Mlynarski has resulted in a preeminent student orchestra. 

1147 1 


e'mil mly 


l, Season 1929-1930 



Student Activities 


he twelfth Students' Concert for the present season was that 
given on the afternoon of February 17 by students of Mr. 
Bailly in Chamber Music. Two works were played, Beethoven's 
Quartet in E flat major, Opus 16, for Piano, Violin, Viola, and 
Violoncello, and Brahms' Trio in Eflat major, Opus 40, for Piano, Violin, 
and Horn. The Quartet was played by Cecille Geschichter, Carmela 
Ippolito, Samuel Goldblum, and Katherine Conant, while those performing 
in the Trio were Joseph Levine, Iso Briselli, and Henry Whitehead. 

Students of Mr. Salzedo participated in a Thirteenth programme on the 
evening of February 24 when a concert of music for eight harps in orchestral 
formation was given, with Carlos Salzedo conducting. The works played 
were varied and widely representative: Rameau's Qavotte from Le Temple 
de la Qloire, Couperin's Musette de Choisy and Musette de Taverny, 
Bach's Sixth French Suite, the Fifteen Preludes composed in 1927 by Mr. 
Salzedo, Spanish Dance, No. 5, by Enrique Granados, and Claude 
Debussy's Clair de lune. Those who participated were William Cameron, 
Alice Chalifoux, Flora Greenwood, Mary Griffith, Victoria Murdock, 
Edna Phillips, Reva Reatha, and Floraine Stetler. 

The Fourteenth Concert which occurred on the afternoon of February 
27 was again played by students of Mr. Bailly in Chamber Music, with 
the Casimir and Swastika Quartets participating, assisted by Maurice 
Sharp, Flute. Three works were performed, Tschaikowsky's String 
Quartet in D major, Opus 11, played by the Casimir Quartet; Louis 
Bourgault-Decoudray's Abergavenny: " Suite de themes populaires Qallois" 
— for String Quartet and Flute, played by the Casimir Quartet and Mr. 
Sharp; and Gliere's Octet, Opus 5, for Four Violins, Two Violas, and Two 
Violoncelli, played by the Casimir and Swastika Quartets. 

During the coming four weeks, further Students' Concerts will be given 
by students of Leopold Auer; students of Anton Torello; students of 
Carlos Salzedo; students of Louis Bailly; and students of Lea Luboshutz. 

I 150 1 



ARTIST-STUDENTS again participated in a Philadelphia Grand Opera 
jTx. Company performance when Rigoletto was presented on the evening 
of February 20, under the direction of Emil Mlynarski and staged by 
Wilhelm von Wymetal, Jr. With such guest artists as Josef Wolinski, 
John Charles Thomas, Ivan Steschenko, and Josephine Lucchese singing 
respectively the roles of The Duke °f Mantua, Rigoletto, Sparafucile, and 
Qilda, Curtis Institute students participated in the cast, as follows: 
Beniamino Grobani, Count Monterone; Albert Mahler, Borsa; Conrad 
Thibault, Marullo; Alfred de Long, Count Ceprano; Henrietta Horle, 
Countess Ceprano; Selma Amansky, A Page; Paceli Diamond, Qiovanna; 
and Josephine Jirak, Maddalena. 

Of still more interest, in the performance of Eugene d' Albert's Tiefland, 
given by The Philadelphia Grand Opera Company on the evening of 
February 26, only one member of the cast — Augusto Ottone, singing 
Tommaso — was not an artist -student of the Institute. All the other roles, 
including the leading parts, were admirably filled by singers from The 
Curtis Institute: Conrad Thibault, Sebastiano; Beniamino Grobani, 
Moruccio; Genia Wilkomirska, Marta; Selma Amansky, Pepa; Natalie 
Bodanskaya, Antonia; Paceli Diamond, Rosalia; Eleanor Lewis, Nuri; 
Albert Mahler, Pedro; and Daniel Healy, Nando. Mr. Thibault substi- 
tuted for Mr. Pavel Ludikar of the New York Metropolitan Opera Com- 
pany who, owing to illness, was unable to appear in the role of Sebastiano. 

On March 6 La Traviata was heard with Josephine Lucchese, 
Alexandre KourganorT, and Mario Valle as guest artists. Artist -students of 
The Curtis Institute sang the remaining roles : Helen Jepson, Flora; Paceli 
Diamond, Annina; Albert Mahler, Qastone; Alfred de Long, Baron 
Dauphol; and Arthur Holmgren, Marquis D'Obigny. 


The curtis orchestra made its third concert appearance of the 
season on March 9, in Symphony Hall in Boston, under the direction 
of Emil Mlynarski. The programme played was the same as that per- 
formed on February 5 before the Philadelphia Forum and on February 12 
in Goodhart Hall, Bryn Mawr College, except for the substitution of 
Wagner's Mcistersinger Prelude for Beethoven's Egmont Overture. The 

f 151! 




Soloists with The Curtis Orchestra 

I 152 1 


remainder of the program consisted of Brahms' Double Concerto in A minor, 
for Violin and Violoncello with Orchestra; Richard Strauss' Symphonic 
Tone-Poem, Don Juan; Cesar Franck's Symphonic Variations for Piano 
and Orchestra; and Smetana's Overture to The Bartered Bride. The three 
soloists to appear with the orchestra were Tatiana de Sanzewitch, Piano, 
pupil of Mr. Hofmann; Judith Poska, Violin, pupil of Madame Luboshutz; 
and Tibor de Machula, Violoncello, pupil of Mr. Salmond. 

Commenting on this concert in their editions for March 10, the Herald 
remarked that "the brilliance and vigor with which these young players 
disposed of a long and exacting program must have astonished most of 
last night's large audience, which applauded with such enthusiasm as has 
rarely been surpassed in Symphony Hall"; the Qlobe felt that "no student 
or semiprofessional orchestra previously heard in Boston can compare with 
this one"; the critic of the American found the concert "one of the most 
surprising and thrilling events in years of concert going", with "a body 
of trained musicians" who "achieved a brilliance and beauty of tone, a 
technical virtuosity, a knowledge of musical fundamentals that make them 
rivals of the leading symphony orchestras". There was also high praise 
for "the notable technical powers, musical insight, and individuality" of 
the three soloists. 

On April 6 The Curtis Orchestra will make its fourth appearance of 
the season, in the Academy of Music in Philadelphia. 


The fourth in the series of Chamber Music Concerts in the Museum 
at Fairmount, under the direction of Louis Bailly, took place on the 
evening of March 2 when the Casimir and Swastika Quartets, assisted by 
Maurice Sharp, Flute, participated in a programme which included 
Tschaikowsky's String Quartet in D major, Opus 11, played by the 
Casimir Quartet; Louis Bourgault-Ducoudray's Abergavenny: " Suite de 
themes populaires Qallois" — for String Quartet and Flute, played by the 
Casimir Quartet and Mr. Sharp; and Gliere's Octet, Opus 5, for Four 
Violins, Two Violas, and Two Violoncelli, played by the Casimir and 
Swastika Quartets. The Casimir Quartet has for its players Leonid 
Bolotine, Paul Gershman, Leon Frengut, and Tibor de Machula, while 
the Swastika Quartet consists of Gama Gilbert, Benjamin Sharlip, Max 
Aronoff, and Orlando Cole. 

I 153 1 


The Swastika Quartet, assisted by Agnes Davis, Soprano, gave a recital 
on the evening of February 2 in Har-Zion Synagogue, Wynnefield, Phila- 
delphia. Another concert by the Quartet was that sponsored by the 
Wilmington Music School and given on March 14 in the Ball Room of the 
Du Pont Hotel in Wilmington, Delaware. On March 16 the Swastika 
Quartet will appear in one of the eight concerts in the series offered by 
the Philadelphia Chamber Music Association, in the Ball Room of the 
Bellevue-Stratford Hotel. On March 20 the Quartet, assisted by Joseph 
Levine, Piano, will play in the Philadelphia Y.M.H.A. On April 8 the 
Quartet will play in the Penn Athletic Club Ball Room in conjunction 
with a lecture by Ralph Adams Cram, under the auspices of the Barnwell 
Lecture Course of the Philadelphia Central High School. 

On March 3 a Wood Wind and Brass Quintet made up of Maurice 
Sharp, Flute, Robert Bloom, Oboe, Robert McGinnis, Clarinet, Ervin 
Swenson, Bassoon, and Henry Whitehead, Horn, gave a recital for the 
Agnes Irwin School. This concert is unique in that it marks the first 
occasion on which wind instrument players have been engaged for a 
Chamber Music recital outside of the Institute. The Quintet was rehearsed 
by Marcel Tabuteau. 


Further recitals in the course of twenty-five concerts being presented 
by The Curtis Institute this season before schools, colleges, clubs, and 
the like are as follows : 

February 15 — Dorset Players, Dorset, Vermont : Florence Frantz, Piano, 
and Lois Putlitz, Violin. 

February 19 — Norristown Octave Club, Norristown, Pennsylvania: 
Agnes Davis, Soprano; Sara Newell, Accompanist; and the Casimir 

February 20 — University of Delaware, Newark, Delaware: Celia 
Gomberg, Violin; Clarence Reinert, Baritone; Florence Frantz, Piano; and 
Joseph Rubanoff, Accompanist. 

Other concerts announced to take place in the near future are those in 
Newark, Delaware (March 20), West Chester, Pennsylvania (March 27) 
and Coatesville, Pennsylvania (April 1.4). 


ON February 16 Tatiana de Sanzewitch gave a recital of piano music 
at the Huntingdon Valley Country Club. Beniamino Grobani, 
Baritone, sang in recital for the Philadelphia Forum in the Academy of 

I 154 1 


Eight harp students of the Institute performed two groups of composi- 
tions arranged for harp ensemble as part of the programme of the Tenth 
Annual Harp Festival of the National Association of Harpists, Inc., in 
Boston in Symphony Hall, on March 3. On February 23 Edna Phillips 
appeared as solo Harpist with the Reading Symphony Orchestra, playing 
the Debussy T) arises Sacree et Profane. 

On March 8 Oscar Shumsky, pupil of Professor Auer, was solo violinist 
in a New York concert of The New York Philharmonic-Symphony 

On March 16 Helen Jepson, Soprano, will be soloist with The Baltimore 
Symphony Orchestra, with Richard Hageman as Guest Conductor. 

Robert Cato and Alexander McCurdy, Jr. have returned from their 
course of study under Anton Brees in the Singing Tower, Mountain Lake, 
Florida. Carl Weinrich and Lawrence Apgar, who also have been in 
Florida taking a five to six weeks' course in Campanology with Mr. Brees, 
have just returned to resume their work with Lynnwood Farnam. 

On March 4 Alexander McCurdy, Jr., Organ, Josephine Jirak, Con- 
tralto, and Herman S. Gatter, Tenor, gave a recital of works by Bach, 
Schumann, Saint -Saens, Rossini, and others, in St. John's Lutheran Church, 
in Reading. On March 16 Mr. McCurdy is to play a recital on the 
Cyrus H. K. Curtis organ in Irvine Auditorium, University of Pennsyl- 
vania. Announcement may also be made of a performance of Brahms' 
T(equiem under Mr. McCurdy 's direction, in Trenton, New Jersey on April 
7. For this event, the Choral Art Society of Trenton, of which Mr. 
McCurdy is Conductor, will be augmented by the choirs of the Second 
Presbyterian and St. James' Churches of Philadelphia, to make a chorus of 
110 voices. Theodore Saidenberg, student under Mr. Kaufman, will be 
at the Piano. 

Henri Temianka, Violin, a graduate student of The Curtis Institute, 
has been engaged in a series of recitals in European capitals. Recent press 
notices from the leading newspapers of Milan, Zurich, Cologne, Monte 
Carlo, Hamburg, Copenhagen, Stockholm, and the like speak in great 
detail and with the highest praise of his performances of many of the most 
difficult works in the violinist's repertoire. 

I 155 1 

Faculty Activities 


he seventh Faculty Recital of this season was presented on 
March 12 by Felix Salmond, Violoncello, and Harry Kaufman, 
Piano, collaborating. The programme embraced two major 
works for Violoncello and Piano and a number of shorter 
compositions of a modern character. First was played George Frederic 
Handel's Sonata No. i, in Q minor, in four movements, followed by 
Jean Hure's Sonata No. i, in F sharp minor, in one movement. A third 
group included Maurice Ravel's Piece en forme de Habanera, Gabriel 
Faure's Berceuse, and a work by Granados-Cassado, Intermezzo from 
the Opera Qoyescas. The last section of the programme was devoted to 
Johannes Brahms' Sonata in F major, Opus gg, for Violoncello and 

During the coming four weeks, a large number of Faculty Recitals will 
take place, including those by Anton Torello, Double Bass, Josef Hofmann, 
Piano, Efrem Zimbalist, Violin, and Emilio de Gogorza, Baritone. 


Concerts by Josef Hofmann during early March included many 
further appearances scheduled as part of his Western Tour — March 2, 
Los Angeles, California; March 3, San Diego; March 5, Sacramento; 
March 9, Chicago, Illinois; and March 11, Milwaukee, Wisconsin. His 
return to the East will be marked by a second Carnegie Hall recital for 
this season, in New York, on March 15. 

Efrem Zimbalist appeared as soloist with the Philadelphia Orchestra 
on February 18 in Washington, D. C, and on February 19 in Baltimore, 
Maryland. Other concerts following this were as follows: February 25, 
Fort Wayne, Indiana; February 27, Bloomington, Illinois; March 3, Palm 
Beach, Florida; March 9, Hartford, Connecticut. His fourth appearance 
in New York for this season is scheduled for March 16, after which he will 
play on March 18 in Chicago, Illinois; March 25, Germantown, 
Pennsylvania; and April 8 and 10, Havana, Cuba. 

In addition to his recital in Casimir Hall on March 12, Felix Salmond 
played on March 7 in Lock Haven and on March 9 in New York City. 

I 156] 


He will appear as solo 'cellist with The Friends of Music in New York 
on March 16 and at Rutgers College in New Brunswick, New Jersey on 
March 19. 

Madame Lea Luboshutz gave violin recitals in New York City at the 
Federation Settlement on January 31 and before the Women's Town Club 
on February 13. February 18 marked a concert in Newark, New Jersey, 
and February 22 a private recital in New York again, with a Carnegie 
Hall recital following on March 2. On March 14 Madame Luboshutz 
volunteered a recital for the children of The Oak Lane Country Day 
School of Oak Lane, Philadelphia. 

On March 7 and 8 Louis Bailly was soloist with The St. Louis Sym- 
phony Orchestra in performances of Ernest Bloch's Suite for Viola and 

Emil Mlynarski appeared as conductor of The Philadelphia Orchestra 
in Princeton on March 13 and in Philadelphia on March 14 and 15. On 
March 9 he conducted The Curtis Orchestra in Boston and he will again 
lead this group on April 6 in Philadelphia. In his capacity of Musical 
Director of The Philadelphia Grand Opera Company, he recently con- 
ducted performances in this city of Bjgoletto, Tiefland, and Traviata. 

Abram Chasins was soloist with The Philadelphia Orchestra in its 
regular Philadelphia concert on February 17, when he played his Concerto 
for Piano and Orchestra. On February 24 he repeated this performance 
with the Orchestra before The Philadelphia Forum, while the evening of 
the 25th marked his third appearance with the Orchestra, this time in 
Carnegie Hall, New York City. 

Madame Renee Longy-Miquelle will appear as solo pianist with The 
Boston Symphony Orchestra on March 17, in Boston, when she will play 
Mozart's Concerto in D minor. 

Carlos Salzedo officiated during the programme on March 3 in Sym- 
phony Hall, Boston, at the Tenth Annual Harp Festival of The National 
Association of Harpists, Inc., when his Concerto for Harp and Seven Wind 
Instruments was played. Mr. Salzedo appeared in recital on March 5 at 
Dartmouth College, Hanover, New Hampshire. 

I 157] 



N the thirteenth of the series of twenty half-hour radio con- 
certs broadcast over the Columbia System (Station WCAU in 
Philadelphia and Station WABC in New York, with a nation- 
wide network of stations) , on Friday evening, February 28, at 
10:30 Eastern Standard Time, The Curtis Institute of Music presented 
The Curtis Orchestra over the air for the fourth time this season. The 
programme included Beethoven's Coriolan Overture., Opus 62; the First 
Movement of Haydn's Concerto for Violoncello, D major, with Tibor 
de Machula as soloist; and Mendelssohn's Midsummer Night's Dream 
Scherzo. Emil Mlynarski conducted the orchestra. 


The Fourteenth programme, on March 7, presented the Connell 
Vocal Quartet, composed of Helen Jepson, Soprano, Rose Bampton, 
Contralto, Albert Mahler, Tenor, and Clarence Reinert, Baritone, in a 
group of operatic selections including Von Flotow's Slumber Song from 
Martha, Balfe's From the Valleys and Hills from The Bohemian Qirl, and 
Verdi's Quartet from T(igoletto. Joseph Levine, Piano, played Medtner's 
Fairy Tale in E minor, Debussy's Clair de lime, and Brahms' PJiapsody 
in G minor, while Celia Gomberg, Violin, also participated, playing the 
Romance from Wieniawski's Concerto in D minor and Kreisler's La Qitana. 
Theodore Saidenberg assisted at the Piano. 

On March 14 a Fifteenth programme was heard. Cccille Geschichter, 
Piano, played Rameau's Qavotte and Variations and an Etude in F sharp 
minor by Arensky. Fiorenzo Tasso, Tenor, accompanied by Joseph 
Rubanoff, sang Tosti's The Last Song and Leoncavallo's Vesti la giubba 
from Pagoletto, while Ethel Stark, Violin, completed the conert with the 
Andante from Lalo's Symphonic Fspagnole and a Spanish Dance by 
Granados-Kreisler. Theodore Saidenberg accompanied Miss Stark. 

A Sixteenth concert on March 21 will again present The Curtis 
Orchestra with Celia and Robert Gomberg as soloists in Bach's Concerto 
for Two Violins (Second and Third Movements). The orchestra will also 
play Dukas' The Sorcerer s Apprentice and Brahms' Hungarian Dance 
No. 2. 

ff 158 1 

Glimpses of the Institute 


N less than four years the Library of the Institute has grown 
to proportions which mark it as one of the outstanding 
collections of music and literature on music in the country. 
Although it is still in the process of being developed, with 
accessions coming in every day, it may be interesting here to present some 
figures and details. Books on music at present number 2,363, while the 
number of musical titles is 9,646, making together a total of more than 
12,000 works available at present. In addition, the periodical files include 
44 magazines and 6 newspapers, received regularly. 

Among the interesting collections which arc steadily being augmented 
there may be mentioned Coussemaker's Scriptores de musica, Burney's 
History of Music, Torchi's V arte musicale in Italia, complete works of 
Chopin in editions by Klindworth, Scholtz, Mikuli, Breitkopf, Gebethner 
and Wolff, among others, Tudor Church Music, the English Madrigal 
School, the English School of Lutenist Son g-ivr iters, complete editions of 
Palestrina, Orlando di Lasso, Schutz, Purcell, Victoria, Bach, Beethoven, 
Schubert, Schumann, Brahms, and others, many of these large and costly 
sets, difficult to acquire. ^ 

The Library maintains a staff of more than ten persons and occupies 
a large number of the rooms of the school. There is first the Redding 
Room of which a photograph is reproduced here, where is contained the 
general reference library and books on music, and where may be found the 
duplicate catalogues, displays of books on current operas and concerts, 
periodicals, clippings of orchestra and opera performances, and so forth. 
It is here also that the Librarian of the Institute, Miss Marjorie Winn, has 
her office. Below this is the Orchestra Room, containing more than 450 
complete sets of orchestra works. Here is the office of the orchestra's 
Librarian, Mr. Demarest, with facilities for student assistants who mend 
orchestra music, collate books, and mark scores and indicate cuts for 
various performances. 

The adjoining Academic Room contains solfege material and books used 
by the Academic Department, grammars and readers, works on literature, 
composition, and science, as well as a general collection on the Drama, 
Poetry, Fiction, Art, Essays, Anthologies, and the like. A circulating 

I 159! 











I 160 1 


library of 1300 miniature scores is also kept here. The Music T(pom is 
the largest and most important part of the Library. This contains the 
music for all the departments of the Institute. The piano section is 
constantly increasing, the violin collection is large, and there are extensive 
collections of vocal, 'cello, and harp music. Music for the wood-wind 
and brass instruments is also here, as well as a good foundation collection 
of organ music. On the upper shelves is a fairly complete collection of 
piano and vocal scores of operas, at present 638 in number. There is also 
a library of reference miniature scores, totalling 650 volumes, which is for 
study purposes and does not circulate. 

In a special alcove is the Opera Rpom, set aside for orchestra parts of 
operatic works. The Library is purchasing operas and will in time have 
a valuable collection of this type of music. At present there are scores of 
most of the standard German, French, Italian, and Russian operas. 

Adjoining this is the Cataloguing Department, where books are acces- 
sioned, shelf-listed, and catalogued. In addition to shelves for uncatalogued 
books and music, there are also extra shelves here for the overflow of the 
Academic Library. 

The Phonograph ~Rpom was opened on the first of October of this season 
and has become one of the most used departments of the Library. Both 
students and teachers come to it for purposes of study. In addition to 
the collection of records kept here, there are also orchestral and operatic 
scores for reference use while listening to phonograph recordings. 

The Duo -Art Room is also a new addition this year and is being used 
more and more by the Piano Department of the Institute. Both the 
Phonograph and Duo-Art Rooms are sound-proof and considerably distant 
from the rest of the Library. In the latter room there is also kept the 
Library of Stereographs, popular with the younger students of science, 
natural history, and geography in the Academic Department. 

A final large and important feature of the Library is the Chamber Music 
Department, which adjoins the Chamber Music studios and Collection of 
Stringed Instruments. Here there is kept a special collection of works, 
which, including miniature scores, numbers 2,061. 

I 161] 

Music Calendar 

March 15-31 
15 — Philadelphia Orchestra, Emil Mlynarski conducting, evening. 
16 — Swastika Quartet, Chamber Music Association, BellevueStratford Ball Room, 

17 — Anton Torello, Double Bass, Casimir Hall, evening. 
18 — New York Metropolitan Opera Company, evening. 
19 — Josef Hofmann, Piano, Casimir Hall, evening. 
20 — "Cavalleria Rusticana" and "Pagliacci", Philadelphia Civic Opera Company, 

21 — Philadelphia Orchestra, Artur Bodansky conducting, Kurt Ruhrseitz, Pianist, 

21 — Broadcasting Sixteenth Radio Concert, Curtis Institute, evening. 
22 — Philadelphia Orchestra, Bodansky, Ruhrseitz, evening. 

23 — Revellers Male Quartet, Penn Athletic Club, evening. 

24 — Students of Leopold Auer, Casimir Hall, evening. 

25 — New York Metropolitan Opera Company, evening. 

26 — Efrem Zimbalist, Violin, Casimir Hall, evening. 

26 — Philadelphia String Simfonietta, Bellevue-Stratford Ball Room, evening. 

27 — "Le Nozze di Figaro", Philadelphia Civic Opera Company, evening. 

28 — Philadelphia Orchestra, Leopold Stokowski conducting, afternoon. 

28 — Broadcasting Seventeenth Radio Concert, Curtis Institute, evening. 

29 — Sergei Rachmaninoff, Piano, Academy of Music, afternoon. 

29 — Philadelphia Orchestra, Stokowski, evening. 

30 — Philadelphia Orchestra, Philadelphia Forum concert, Stokowski, evening. 

April 1-15 
1 — Students of Anton Torello, Casimir Hall, evening. 
1 — New York Metropolitan Opera Company, evening. 
2 — Emilio de Qogorza, Baritone, Casimir Hall, evening. 
3 — "Die Meistersinger", Philadelphia Civic Opera Company, evening. 
4 — Philadelphia Orchestra, Stokowski, afternoon. 
4 — Broadcasting Eighteenth Radio Concert, Curtis Institute, evening. 
5 — Philadelphia Orchestra, Stokowski, evening. 

6 — Kincaid, Lifschey, Kaufman Trio, Chamber Music Association, Bellevue- 
Stratford Ball Room, afternoon. 

6 — Josef and Rosina Lhevinne, Two-Piano Recital, Penn Athletic Club, evening. 

6 — Curtis Orchestra, Academy of Music, evening. 

7 — Philadelphia Orchestra, Mendelssohn Club, evening. 

7 — Students of Carlos Salzedo, Casimir Hall, evening. 

8 — New York Metropolitan Opera Company, evening. 
10 Students of Louis Bailly, Casimir Hall, afternoon. 

10 — "Un Ballo in Maschcra", Philadelphia Grand Opera Company, evening. 
11 — Philadelphia Orchestra, "Lc Sacre du Printemps" with Ballet, Metropolitan 

Opera House, Stokowski, afternoon. 
11 — Broadcasting Nineteenth Radio Concert, Curtis Institute, evening. 
12 — Philadelphia Orchestra, Stokowski, evening. 

13 — Selma Amansky, Soprano, Orchestra, Harp Ensemble, and String Quintet, 

Pennsylvania Museum at Fairmount, evening. 
14 — Philadelphia Orchestra, Stokowski, evening. 
14 — Students of Lea Luboshutz, Casimir Hall, evening. 
15 — New York Metropolitan Opera Company, evening. 



The Monthly Publication of The Curtis Institute of Music 



Rittenhouse Square 
Philadelphia - Pennsylvania 

Vol. I— No. 7 April, 1930 





How the Organ Chose a Disciple Lynmcood Farnam 167 

Something New Under the Sun 170 

Off for Florida — and Campanology Alexander Mcdirdy, Jr. 171 

My First Acquaintance with Campanology Robert Cato 174 

Student Activities 179 

Faculty Activities 185 

Radio 187 

Glimpses of the Institute 

VI. Entrance Hall of the Stringed Instruments and Theory 

Building 189 

Music Calendar 190 


Lynnwood Farnam, Head of the Department of Organ 166 

The Mountain Lake Singing Tower 171 

Alexander McCurdy, Jr., Anton Brecs, and Robert Cato 173 

Mr. Brees with Carl Wcinrich and Lawrence Apgar 176 

Entrance Hall of the Stringed Instruments and Theory Building. . . . 188 

Permission is granted to reproduce parts of this magazine provided due acknowledgment is made to Ovcnoms 
Copyright 1930 by The Curtis Institute of Music. Printed in the United States of America 


LYNN WOOD FARNAM, Head of the Department of Organ 

I 166 

How the Organ Chose a Disciple 


Editor's Note : This article has been submitted by way of reply to the Open Letter 
of the Director which appeared in the November issue of Overtones. Similar articles 
by other faculty members ivill be printed in the numbers to follow. 

S OUR DIRECTOR SUGGESTS, it is possible that all of us in the 
musical profession wonder at times how it was that we were 
led to adopt a certain means of expression. "The wind 
bloweth where it listeth" and seed is carried and deposited in 
unlikely and strange places. May I say at once that the spirit of the 
organ was in my makeup from earliest boyhood and there never was any 
question of voluntary choice on my part? Growing up on my father's 
farm in the small community of Dunham, Province of Quebec, my 
childhood years were marked by intense longings for the realization of 
organ dreams, but the opportunity to hear or actuate tone from pipes 
was even rarer than that of "seeing the train come in", a thrill which, 
especially in the country, I find still never wears off. From the time 
my mother told me of church organs in the city having "three banks 
of keys" until I went fifty miles to Montreal to continue pianoforte 
study with G. W. Cornish, my organ fare was derived from the tiny 
one-manual instrument in the Episcopal church at home and, very occa- 
sionally, two slightly larger instruments in neighbouring villages. Piano- 
forte study was my regular musical diet from the age of seven — I won a 
Royal College of Music, London, pianoforte scholarship at fifteen — but it 
was not, however, until I studied the organ with Higgs, Sewell, and 
Hoyte that my full love and appreciation of the pianoforte — my teachers 
were Taylor and Sharpe — and its literature came into being. 

It is well known that the pianoforte, the bowed stringed instruments, 
and other members of the orchestral group are practically the same the 
world over, whereas the organ appears in a thousand different manifesta- 
tions of size, selection and treatment of registers, and methods of manip- 
ulating the means at the organist's command for the projection of his 
musical message. It is in a measure unfortunate that organ consoles are 
absolutely unstandardized and that organists and builders evidently will 
never agree, for example, on the order of placing the various couplers 
and swell-pedal levers. Another great drawback is the sad lack of pro- 

tt 167 1 


vision for proper tone egress and ample breathing space for the instrument's 
multitudinous pipes. The boon of electric action is partly responsible for 
this, for up to the general adoption of electrics during the past three decades 
or so, the organ had to be in one piece, while now it can be stuffed bit by 
bit in any distant clothes-closet, cellar, or wretchedly small organ-tomb 
and condemned to a more or less lifeless period of service. 

But in spite of all this, many noble, inspiring, and perennially beautiful 
instruments exist and are being produced by our artist-builders, and to 
these the organ lover can return again and again, deriving constant inspira- 
tion. There is always a feeling of adventure and novelty as one searches 
for the best method of interpreting a composition, and often it is particularly 
enjoyable to discover what can be done with limited means, either of 
size or accessories. 

Many are the problems of interpretation of the various ancient, 
modern, and near modern styles of composition, all more or less written 
for the particular conception of the organ as it existed for Scheidt in Halle, 
Bach in Weimar and Leipzig, for Handel or Mendelssohn in London, and 
for Franck in Paris. As it is comparatively seldom that suggested registra- 
tion can be carried out to the letter, I believe in showing the spirit of the 
composition and making it sound pleasant and attractive on whatever 
organ one may be playing at the moment. 

Among the various effects peculiar to the organ are those of the 
diapason quality (these are, however, inclined to be cold and lacking in 
appeal in our buildings where "dead" acoustics prevail), the deep pervading 
tone of the Pedal Organ (a surprisingly rare thing — the tone being there 
but unable to issue forth as it should), the rich, fiery grandeur of a "full 
Swell", the fine lively effect produced by the collections of upper partials 
called "mixtures" (overtones produced in the organ by artificial means), 
charming "celeste" effects (not to be mistaken for the percussion of the 
celesta or harp), and the often splendid peroration of the "full organ", 
whose tones can, if wished, be indefinitely prolonged without taking of 
breath. The organ can suggest but not imitate the orchestra, and the 
grace of phrasing and intimacy of expression possible on violin, pianoforte, 

I 168 1 


or voice are amongst the organist's most valuable object lessons. It can 
do certain things impossible on other instruments, for example, swell a 
struck tone (impossible on the pianoforte), produce bass tones of a strength, 
depth, and quality not found elsewhere in music, and, by its sustaining 
power at any degree of intensity, suggest the infinite. 

Among the problems connected with the future of the organ are the 
prevalence of the poorly-prepared recital, the need of more worth-while 
openings for artist-organists (which means also more use of the riches we 
possess in innumerable fine instruments), the need for as much preparation 
and constant devotion on the part of the organist as any other branch of 
musical artistry receives, and the maintenance of a standard of excellence 
in its message at least as high as that of other forms of the art. 

Broadly speaking, we have during the past two or three decades been 
through a period of reaction against the true spirit of the organ in its 
design and construction, in that ensemble has been neglected in favor of 
fancy effects and solo stops, but the pendulum is now swinging in the 
opposite direction. 

I believe in more and more facilities for control of our palette of tone 
colors, but in this direction, paradoxically, the controls must not possess 
too extensive a field of operation (that is, there must be no arbitrary 
"entangling alliances" between the various departments, and colors and 
effects should not, so to speak, be irrevocably tied up in neat bundles) , but 
the organist- interpreter must have freedom of choice under all circum- 
stances. These and other questions — one of the immediate problems that 
awaits solution is the curse of lost motion in the average jerky electric 
swell-pedal action — together with the exploration of the vast heritage of 
organ composition and hope for the present and future development and 
significance of its literature, make an organist's life interesting and his 
love for the instrument that chose him intense and growing. 


Something New Under the Sun 

ING Solomon may or may not have heard of Campanology. 
But at least it is a new subject to most of us. Campanology 
is the study of bells — or carillon, as they are best known in 
Europe. At Malines, Belgium, there is a school, now in its 

eighth year, where a distinguished Bellmaster of the old world, Jef Denyn, 

is teaching the art of playing bells. 

It is little known that such a school has recently been founded in the 
United States under the auspices of The Curtis Institute of Music. The 
students are not many, and there is only one teacher, but he is a master of 
his instrument, and the young men he is teaching arc artist-students sent 
him from the Organ Department of The Curtis Institute. 

Anton Brees is the Bellmaster of the Singing Tower at Mountain 
Lake, Florida, where he gives public concerts regularly during the season 
from mid-December to mid- April. There is a practice clavier in the Tower, 
and it is upon this that the students do a large part of their practice work — 
the use of the carillon itself being reserved until a certain degree of pro- 
ficiency has been reached. Two students at a time are sent from Phila- 
delphia for a six weeks' course of study with Mr. Brees at Mountain Lake. 
This course is supplemented by a two-week period of study the following 
year. At the end of these periods they return to Philadelphia and resume 
their organ study at The Curtis Institute of Music, two more students 
taking their place in Florida. 


This is the first time that such instruction has been available outside 
of Belgium, and it means that there will be players from now on for the 
different sets of bells which are constantly being established throughout 
the United States. Increasingly bells are being used as memorials, and 
until now there has been almost no one to play them. But such is no longer 
the case, thanks to this pioneer work on the part of The Curtis Institute. 

I 170 1 

Off for Florida — and Campanology 


Editor's Note: Mr. McCurdys article and the one by Mr. Cato which follows 
are interesting for the first-hand impressions which they give, and will undoubtedly 
have historical value as the recorded account of the experiences of the first tivo persons 
to receive instruction in Campanology in this country. 

hiladelphia was a white city on the 30th of December at noon, 
when Robert Cato and I left on the "Orange Blossom Special" 
for Florida. By the time we reached Baltimore, the snow had 
turned into rain, and at Washington the weather was clear. 
It became more pleasant as we went farther South. 

On the last day of 1929 we arrived at West Lake Wales, Florida. We 
were met by Major H. M. Nornabell, who took us in his car to the Bok 
Bird Sanctuary at Mountain Lake, about eight miles distant. The first 
impression of the beautiful Singing Tower and the Sanctuary which it crowns 
I am sure we shall never forget. We entered the grounds just as Anton Brees 
was starting his Recital. We had heard 
bells before, but never such brilliant ones, 
played by a great carillonneur, in so beauti- 
ful a spot, and against perfect quietness. 
Thrilling things happened during the few 
hours that remained of the year. 

When the Recital was over, we were 
taken into the Tower and were introduced 
to Mr. Brees. With him we made a tour 
of the building. It is too much for me 
to try to describe. After this, we went 
with the Major to our hotel, the Dixie 
Wales-Bilt, in Lake Wales, where a large 
double room with bath had been reserved 
for us by The Curtis Institute. 

As soon as we had finished dinner, 


Mr. Brees drove us in his car back to SINGING TOWER. 

I 171! 


the Tower, where he gave us our first lesson in Campanology. What 
an interesting time were the two hours spent that evening at the "little 
clavier" under Mr. Brees' direction — scales, arpeggios, and pedal exercises, 
a new technique for hands and feet! We managed to get a good start 
that night. 

To usher in the New Year, Mr. Brees gave a special Recital. We left 
the Tower a few minutes before he began, and walked out into the 
Sanctuary. At midnight the bells tolled twelve and then — 

Our Qod, our Help, in ages past 
Our Hope in years to come. 

What a thrill to hear that glorious hymn at the beginning of the New Year ! 

On New Year's Day we started our work on the practice clavier. 
(This "little clavier", as we called it, is exactly the same as the bell clavier, 
except that the action is slightly different: instead of pulling the bell 
clappers, which have weight, the keys pull springs which about equal the 
weight of the clappers. There are hammers above the springs which are 
then caused to strike steel bars. The effect is something like that of 
orchestral bells. The keys are struck with the little finger side of the 
hand.) Because our fingers became very sore from the unaccustomed 
exertion, we did not practice a great deal that day, but in a short time we 
were able to do a substantial amount. 


At our second lesson, Mr. Brees allowed us to play our scales, 
arpeggios, and pedal exercises on the bell clavier. It is necessary to get 
the "feel" of the actual bells so that one can try to practice the same 
strokes on the "little clavier". During the second week we progressed 
enough to be able to play a few little tunes in three parts which we had 
written for the bells. After the fourth lesson, Mr. Brees allowed us each 
ten minutes per day at the actual bells. By this time we were able to 
play a few hymns, chants, and cadenzas. Later on, we had fifteen, and 
then twenty, minutes per day. I usually played at noon, and Robert 
Cato at five-thirty. 

Although we went to Florida to study Campanology, we did many 
other things. We were fortunate to have in our room a piano, provided 

I 172! 


by the Institute, and Mr. Henry M. Crane, a resident of Mountain Lake, 
offered us the use for practice of the fine Aeolian Organ in his own home. 
We certainly took advantage of the opportunity; each of us used that 
organ for at least two and a half hours every day. It will perhaps be 
interesting to know how we managed to reach our work, the Tower 
being four miles from the hotel and Mr. Crane's residence more than a 
mile from the Tower. Through the generosity of our President, Mrs. Bok, 
whose winter home is at Mountain Lake, we were provided with a 
Chrysler sedan in which we could come and go as we pleased. 

A typical day's program went something like this : Rise at 7.30. Break- 
fast at 8:15. Arrive at the Tower for practice at 9:30. I usually practiced 
the bells in the morning, while Mr. Cato practiced organ at Mr. Crane's. 
A little before noon he would come back to the Tower and listen to me play 
the bells. At 12:30 Lake Wales 
again, where we played tennis until 
1 :30. Luncheon was at 2 :00. At 
3 :00 we arrived again at the Tower, 
where Mr. Cato then did his prac- 
ticing while I went on to Mr. 
Crane's for my organ practice. 
Shortly before 5:30, I returned to 
hear Mr. Cato play the bells. At 
6 :00 we were at the hotel, where 
one or the other of us would prac- 
tice piano until 7 :00, when we had 
dinner. Every evening was taken 
up in arranging music for the bells. 

Campanology has given me an 
opportunity to use in a concrete way 
practically every musical subject 
that I have ever studied. It would 
be impossible to do anything with 
the carillon unless one had had a 


I 173 1 


good background in piano, organ, and theory, and were able to transpose 
readily. I am convinced that one is as important as the other. The piano 
is essential for general foundation, for reading, touch, dynamics, and for 
interpretation; the organ for coordination between hands and feet; theory 
(harmony, counterpoint, solfege, at least) for arrangements. There is no 
other instrument of which I know that requires as much preparation for 
study as does the carillon. 

Altogether I feel that this work has been one of the most unusual 
experiences that I have ever known. 

My First Acquaintance with 


he journey from Philadelphia to Mountain Lake, Florida, 
entails a train ride of some 27 hours, touching at Baltimore 
and Washington, then south through the barren and rather 
dismal lands of Eastern Virginia, the Carolinas, and Georgia. 
Soon after entering the State of Florida, one is struck by the sight of the 
low, flat, sandy land, well covered with tall Southern pines. An unusual 
sight for a Northerner is the quantity of grey Spanish moss, which droops 
gracefully from every tree, telephone pole, and wire. 

Alighting from the train in the early afternoon, we were taken 
immediately to the Tower. Who can ever forget his first impression of 
the Sanctuary, with its lovely lawns, trees and shrubs, abounding in many 
varieties of rare and beautiful flowers, and with the quiet pool, with its 
perfect reflection of the Tower? One feels the quiet beauty and ever- 
present peace of this great garden so fittingly called Sanctuary. 

As we approached the Tower, we heard for the first time the great 
bells being played by Mr. Anton Brees, Carillonneur or Bellmaster at the 

I 174 1 


Singing Tower, who gives recitals four times each week from December 15 
until April 15. One's first impression of a carillon recital is apt to be rather 
an odd one, with some question as to whether or not the bells are truly 
musical instruments, capable of artistic expression. This, I feel, is due 
largely to the fact that bells possess very prominent overtones, which 
sometimes clash since there is no method in use of "damping" to stop the 
vibrations when the harmony changes. Also, to the unaccustomed ear, 
some of the bells seem to sound out of tune. However, after listening 
repeatedly to the carillon, one not only becomes accustomed to the over- 
tones and "clash", but begins to appreciate its real beauty, which seems 
to me to rest in its magnificence, its stately dignity, and above all, its clear, 
ringing tone. Especially striking is the richness of some of the lower 
bells, as well as the almost "singing" quality of the small, upper ones 
when struck repeatedly. 

Mr. Brees always begins each recital by tolling the hour on the lowest 
or "tenor" bell, which is tuned to E-flat. It is a very slow toll, with 
about five seconds between the striking of each note, and it is wonderfully 
impressive and awe-inspiring. Following this, the tune of "America" is 
played first in single voice upon the lower bells, then in three-part harmony 
in the middle register, and finally there comes a third verse, using the 
great low bells for a continuously moving bass, with the tune sounding 
from the clear, high ones, and sustained by means of a tremolo, or repeated 
note, effect. This last is always done fortissimo and is very thrilling 
to hear. The recitals usually consisted of several familiar hymns and 
folk-songs, interspersed by transcriptions from opera and oratorio, and 
occasionally one of the smaller classics, such as a minuet of Mozart or 

The first lesson with Mr. Brees took place on the evening of our 
arrival. It was conducted on the practice keyboard, which is similar in 
every respect to the actual bell-clavier, save that the tones are produced 
by means of metal bars struck with small hammers. The first few lessons 
consisted solely of the matter of carillon technique; scales and arpeggios, 
trills and shakes, all being played with the fists. We were soon allowed 
to play upon the actual bells for a few minutes each day, when we could 
experiment with our own arrangements of hymns and simple piano pieces. 



I shall never forget the thrilling experience of my first contact with 
the bells. After having practiced for days on the shrill-sounding "little 
clavier", to hear the great, rich tone of the bells booming forth seemed 
almost like listening to a great organ after a small upright piano. Nervous- 
ness usually attends the first attempt on the bells. This is of course quite 
easily explained. The sight of the great and still strange clavier, the 
knowledge of one's inexpertness, heightened by the fact that whatever is 
played, be it good or bad, is heard distinctly within a radius of at least 
half a mile from the Tower by the ever-present large number of people 
in the Sanctuary — all these tend to give the student many uneasy moments. 
Our first real carillon recital was a private one, given only for Mrs. Bok, 
Mr. Brees, and a new student, lately arrived from Philadelphia. Supper 
was served at seven in the beautiful Gothic room which comprises the 
base of the Tower. Then at nine o'clock Mr. McCurdy and I began 
our program, each playing about 
twenty-five minutes. 

Mr. Brees is a delightful man 
with whom to study. He did every- 
thing possible to aid us in our work, 
and his kindness, geniality, and en- 
thusiasm were a source of constant 
inspiration. He is unquestionably a 
genius in the world of carillon play- 
ing. Not only has he a flawless 
technique and infinite warmth and 
tenderness in his playing, but he has 
developed a style of treatment 
quite his own. This last is as nec- 
essary for a carillonneur as for a 
pianist, violinist, or any other type 
of musician. A great amount of 
time must be spent upon the actual 
acquiring of technical facility, and 
the making of arrangements of 




music for the instrument, but an equal period should be devoted to experi- 
ment and meditation upon new and untried methods of treatment. 

The equipment necessary for a student's successful study of the art 
of bell-playing is rather a broad one. To have attained a reasonable 
amount of proficiency in piano playing is, of course, of paramount impor- 
tance, just as it is in any branch of musical study. Of nearly equal 
importance here, however, is the ability to play the organ. Coordination 
between the action of hands and feet is at all times in demand, and this 
is best attained beforehand, through organ study. A good knowledge of 
theory, harmony, and counterpoint is also an important requisite, for one 
must be able not only to transpose readily, but to make arrangements, 
and to improvise in a manner possessing real musical value. Because the 
literature for the carillon is practically non-existent, the bell-player must 
necessarily resort to transcription, improvisation, and composition. 

I should like to say for the benefit of all future students that carillon 
study in itself will have no harmful effect upon their piano or organ playing. 
Having been warned by skeptics that I should nevermore be able to play 
the organ, I was naturally most interested and pleased to find, at the end 
of six weeks, that my technique had not in any way been impaired. I was 
fortunate enough, however, to be able to do about three hours of daily 
practice upon the organ and piano, and so to keep in technical trim. 
For pianists, carillon playing should be beneficial, for there is no question 
as to its strengthening effect upon the wrists and arms. 

Carillon playing is as yet in its infancy. Small developments are 
constantly being made, but the instrument is still highly limited, due 
primarily, I feel, to the enormously cumbersome and unelastic action of 
its keyboard. Whether or not this can in time be mechanically overcome, 
without any loss to artistic results in the matter of dynamics, shadings, 
and the like remains to be seen. Much should be done, for the interest 
of the American people in the carillon is rapidly growing, as is the number 
of carillons being erected throughout the country. 

I 177 1 


To the young composer the carillon offers what should be an attractive 
medium. It is a very wide and open field, for there is no standardized 
form of composition for the instrument. The orchestra has its symphony, 
the organ its fugue, but as yet the carillon is lacking in any such possession. 
Also, the prospective composer may rest assured that bell compositions 
would be exceedingly fortunate in the matter of hearings. Every caril- 
lonneur is constantly searching to find and play new works, and no carillon 
recital is ever given without what one might term a large audience. It is 
a new and different way of reaching the people musically, for besides 
musicians and music lovers ever present, there is always in attendance 
whenever and wherever the bells are played a crowd of those who are not 
in the habit of frequenting any other form of concert. 

The all too short six weeks — how full they were of rich and colorful 
events! To be in Florida, to work under the guidance of Mr. Brees, to 
come to know Mrs. Bok^-all of them delightful things to happen to 
anyone ! — together make up one of the truly great and momentous expe- 
riences of my life. 

I 178! 

Student Activities 


he fifteenth Students' Concert for the present season was that 
given on the evening of March 24 by students of Professor 
Leopold Auer. Oscar Shumsky played the First Movement of 
the Concerto in B minor, Opus 61 by Edward Elgar and the 
Bach Chaconne, while George Pepper performed Beethoven's Sonata, No. 8, 
in G major, for Violin and Piano, and the First Movement of the Concerto 
in D major, Opus 77 by Johannes Brahms. Theodore Saidenberg, student 
of Mr. Kaufman in Accompanying, assisted at the Piano. 

Students of Mr. Bailly in Chamber Music participated in the Sixteenth 
concert on the evening of March 27, when Haydn's String Quartet in C 
major, Opus 54, No. 2, Acht Stiicke in der ersten Lage fur Fortgeschrit- 
tenere, Opus 44, by Paul Hindemith, and Schubert's String Quartet in A 
minor, Opus 29 were played. This concert marked the debut of the first 
"women's" string quartet in the school, with Celia Gomberg and Eva 
Stark, Violins, Esther Hare, Viola, and Katherine Conant, Violoncello. 

The Seventeenth concert, on the evening of April 7, was given by 
students of Carlos 5>alzedo in Harp, assisted by soloists from the Department 
of Woodwind and a Chamber Orchestra conducted by Mr. Salzedo. The 
programme included a local "first performance" and two rarely heard 
classic works. Mozart's Concerto for Flute and Harp was played by 
Maurice Sharp, student of Mr. Kincaid in Flute, and William Cameron, 
accompanied by a Chamber Orchestra of Two Oboes, Two Horns, Four 
Violins, Two Violas, Violoncello, and Double Bass. Handel's Concerto in 
B flat, for Oboe and Harp was played by Robert Bloom, student of Mr. 
Tabuteau in Oboe, and Victoria Murdock. The last work was Mr. 
Salzedo's Preambule et Jeux for Harp Principale, Flute, Oboe, Bassoon, 
Horn, and String Quintet, with Edna Phillips at the Harp. (This most 
recent of Mr. Salzedo's compositions was commissioned by Mrs. Elizabeth 
S. Coolidge, last summer, for her International Festivals of Contemporary 
Chamber Music, and the first performance took place at Salle Gaveau, 
in Paris, on October 28, 1929.) 

I 179 1 


Students of Felix Salmond in Violoncello presented the Eighteenth 
concert on the evening of April 9. Katherine Conant, accompanied at the 
Piano by Yvonne Krinsky, played Arcangelo Corelli's Sonata in D minor; 
Adine Barozzi, accompanied by Earl Fox, performed Saint-Saens Concerto, 
No. i, in A minor, Opus 33; Orlando Cole, also accompanied by Mr. 
Fox, was heard in two movements from Ernst von Dohnanyi's Sonata 
in B flat minor, Opus 8; Tibor de Machula, assisted by Miss Krinsky, 
played two movements from Luigi Boccherini's Concerto in B flat major; 
while David Popper's Requiem, for Three Violoncelli, with Piano 
Accompaniment, was performed by Miss Conant and Messrs. de Machula 
and Cole, assisted again by Miss Krinsky. 

Chamber Music was heard once more in the Nineteenth concert on the 
afternoon of April 10 when students of Louis Bailly played three major 
works. Henry Purcell's seldom heard Chacony in Q minor for Strings was 
presented by a Chamber Orchestra of Eight Violins, Four Violas, and 
Four Violoncelli, conducted by Louis Wyner, student of Mr. Mlynarski 
in Conducting. Luigi Boccherini's celebrated Quintet in C major, for Two 
Violins, Viola, and Two Violoncelli, was played by Gama Gilbert, 
Benjamin Sharlip, Max Aronoff, Orlando Cole, and Frank Miller. An 
important work by Sergius Taneiev, the Quartet in E major, Opus 20, for 
Piano, Violin, Viola, and Violoncello, was performed by Jennie Robinor, 
Lois Putlitz, Paull Ferguson, and Frank Miller. 

The Twentieth concert will be that on the evening of April 15, when 
students of Anton Torello in Double Bass and William Kincaid in Flute 
will each provide half of the programme. In spite of the Easter Recess, 
the next four weeks will abound in recitals, with more than a dozen 
concerts already scheduled for students of Anton Horner, Efrem Zimbalist, 
Emilio de Gogorza, Harriet van Emden, Isabelle Vengerova, Rosario 
Scalero, Horatio Connell, Marcella Sembrich, Lea Luboshutz, Louis Bailly, 
David Saperton, and others. 


IN the performance of Verdi's Vn Ballo in Maschera which The 
Philadelphia Grand Opera Company gave on the evening of April 10, 
artist-students from The Curtis Institute's Department of Voice again 
participated, singing five of the less important roles in a cast which included 

I 180! 


such guest artists as Bianca Saroya, Faina Petrova, John Charles Thomas, 
Alexandre Kourganoff, and Ivan Steschenko. Henriette Horle, a student 
of Madame Sembrich, sang the part of Oscar, the Duke's page, while 
Beniamino Grobani, a pupil of Mr. de Gogorza, was Silvano, a sailor. 
Abraham Robofsky, also studying under Mr. de Gogorza, sang Antonio, 
while Alfred De Long and Daniel Healy, both students of Horatio Connell, 
represented The Supreme Judge and A Servant of Amelia. As usual, Mr. 
Emil Mlynarski conducted and Mr. Wilhelm von Wymetal, Jr. staged the 
production. ^ 

Following close after their successful participation in the Philadelphia 
Orchestra performances of Boris Qodunof last fall under the direction of 
Leopold Stokowski, voice students of The Curtis Institute were once again 
engaged by Mr. Stokowski to sing in the performances of Arnold Schon- 
berg's opera, Die Qlilckliche Hand (The Hand of Fate), which The 
Philadelphia Orchestra in co-operation with The League of Composers gave 
in Philadelphia, at the Metropolitan Opera House, on April 11, 12, and 
14, and which will be presented in New York, at the Metropolitan Opera 
House of that city, on April 22 and 23. The unseen chorus whose singing 
accompanied the miming of those on the stage was made up of the follow- 
ing seventeen artist-students: Selma Amansky, Natalie Bodanskaya, Agnes 
Davis, Kathryn Dean, Benjamin De Loache, Alfred De Long, Paceli 
Diamond, Ruth Gordon, Beniamino Grobani, Daniel Healy, Arthur 
Holmgren, Josephine Jirak, Eleanor Lewis, Albert Mahler, Abraham 
Robofsky, Charlotte Simons, and Walter Vassar, who were rehearsed and 
prepared entirely by Sylvan Levin under the supervision of Mr. Stokowski. 


The FOURTH and last appearance of The Curtis Orchestra for this 
season, which was announced to occur on April 6, has been postponed 
until the evening of April 29, when the Orchestra will be heard once more 
in Philadelphia in the Academy of Music. Mr. Emil Mlynarski will 
conduct, and the soloists will be, as formerly, Tatiana de Sanzewitch, 
Piano, pupil of Josef Hofmann, Judith Poska, Violin, pupil of Madame 
Luboshutz, and Tibor de Machula, Violoncello, pupil of Felix Salmond. 
Wagner's Vorspiel and Liebestod from Tristan und Isolde will be a new 
addition to the programme, the remainder of which will consist of works 

I 181 1 


played earlier in the season: Brahms' Double Concerto in A minor, for 
Violin and Violoncello with Orchestra; Richard Strauss' Symphonic Tone- 
Poem, Don Juan; Cesar Franck's Symphonic Variations for Piano and 
Orchestra; and Smetana's Overture to The Bartered Bride. 


A programme calculated to arouse widespread and unusual interest was 
that presented by artist-students of The Curtis Institute on the evening 
of April 13 in the Great Hall of the Museum at Fairmount. This was the 
fifth and last of the series given this season under the auspices of The 
Pennsylvania Museum of Art, all of the concerts under the direction of 
Louis Bailly. The special programme offered first Luigi Boccherini's 
Quintet in C major played by Gama Gilbert and Benjamin Sharlip, Violins, 
Max Aronoff, Viola, and Orlando Cole and Frank Miller, Violoncelli. 
Johann Sebastian Bach's Sixth French Suite, arranged for Eight Harps in 
Polyphonic Formation, was next played by an ensemble consisting of 
William Cameron, Alice Chalifoux, Flora Greenwood, Mary Griffith, 
Victoria Murdock, Edna Phillips, Reva Reatha, and Floraine Stetler, 
conducted by Carlos Salzedo. Henry Purcell's Chacony in Q minor for 
Strings was performed after this by a Chamber Orchestra of Eight Violins, 
Four Violas, and Four Violoncelli, conducted by Louis Wyner, student in 
Conducting of Emil Mlynarski. The final, and perhaps most important, 
work was Maurice Ravel's Sheherazade — Three Poems for Voice and 
Orchestra, sung by Selma Amansky, Soprano, student of Harriet van 
Emden, with an accompaniment of fifty members of The Curtis Orchestra 
led by Sylvan Levin, also a student in Conducting of Mr. Mlynarski. 

The Swastika Quartet played at the Merion Cricket Club on the after- 
noon of March 29. On April 8 they participated also in the programme of 
the Barnwell Lecture Course of Central High School, in the Perm Athletic 
Club, in conjunction with a lecture by Ralph Adams Cramm. 


Further recitals in the course of twenty-five concerts being presented 
by The Curtis Institute this season before schools, colleges, clubs, and 
the like are as follows : 

I 182 1 


March 20 — University of Delaware, Newark, Delaware: Tatiana de 
Sanzewitch, Piano (student of Josef Hofmann); Daniel Healy, Tenor 
(student of Horatio Connell); George Pepper, Violin (student of Professor 
Leopold Auer) ; and Theodore Saidenberg, Accompanist (student of Harry 
Kaufman) . 

March 27 — State Teachers' College, West Chester, Pennsylvania: 
Robert Cato, Organ (student of Lynnwood Farnam); Florence Irons, 
Soprano (student of Horatio Connell); Philip Frank, Violin (student of 
Efrem Zimbalist); and Earl Fox, Accompanist (student of Harry Kauf- 
man), assisted by a Chamber Orchestra conducted by Sylvan Levin. 

April 14 — Coatesville Century Club, Coatesville, Pennsylvania : Jeanne 
Behrend, Piano (student of Josef Hofmann); Fiorenzo Tasso, Tenor (student 
of Emilio de Gogorza); Iso Briselli, Violin (student of Efrem Zimbalist); 
and Joseph Rubanoff, Accompanist (student of Harry Kaufman). 


A LBERT MAHLER, Tenor, and Lily Matison, Violin (student of Edwin 
jT\. Bachmann) participated in a recital before the Musical Association 
of The Philadelphia Labor Institute on the evening of March 16. On the 
same evening Elsa Meiskey (a former student of Madame Sembrich and 
now studying Operatic Acting with Mr. von Wymetal, Jr.) gave a recital 
in the Hotel Warwick, with Theodore Saidenberg at the Piano. 

Edna Hochstetter, a former student of Madame Sembrich now singing 
under the name of "Edna Corday", appeared in a benefit concert for the 
French-American Relief Association at Mecca Auditorium, New York 
City, on March 30. 

Beniamino Grobani sang with The Philadelphia Chamber String 
Simfonietta on Wednesday Evening, March 26, in The Bellevue-Stratford 

Florence Irons sang for the "Newton Coal Radio Forum" over Station 
WIP on the evening of April 2. 

I 183 1 


Irene Singer has accepted a "soprano" position in the quartet choir of 
the Unitarian Church of Germantown. She began her work there on 
March 2. 

Lawrence Apgar and Carl Weinrich, students of Lynnwood Farnam, 
participated in an Organ Recital on the evening of March 2 at the home 
of Mr. H. M. Crane, Mountain Lake, Florida. 

Toska Tolces, piano pupil of David Saperton, played for the New 
York State Women's Club in New York City on February 17 and for the 
Massachusetts State Women's Club on March 3. 

On February 14 Ethel Stark, violin pupil of Madame Luboshutz, gave 
a recital at the International Student House in Philadelphia. 

Carmela Ippolito, student of Efrem Zimbalist, is to play for the 
Octave Club, Norristown, Pennsylvania on the afternoon of April 16. 

Philip Frank, also studying with Mr. Zimbalist, broadcast from Station 
WOR on March 19. He participated in the final concert of the "Intimate 
Recital" Series at the Barbizon Hotel, New York, with Louis Rigo Bour- 
lier, Baritone, also on the programme. On March 20, Mr. Frank assisted 
in a recital in Town Hall, New York, of the compositions of Boris 
Levinson and Charles Maduro, with Nina Koshetz as vocal soloist. Forty 
members of the Manhattan Symphony provided the accompaniments. 

Tatiana de Sanzewitch, Piano, and Tibor de Machula, Violoncello, 
appeared in a recital at the New Century Club of Wilmington, Delaware, 
on the evening of April 4. Yvonne Krinsky accompanied Mr. de Machula 
at the Piano. 

On February 26 a Harp Concert was given in the East Junior High 
School of Lancaster by Emily Hepler and Marion Blankenship, former 
students of Carlos Salzedo. 

I 184 1 

Faculty Activities 


embers of the faculty have participated in four important 
recitals since the appearance of our March number. On the 
evening of March 17, the season's Eighth Faculty Recital was 
presented by Anton Torello, Double Bass, with Harry Kaufman 
at the Piano. This concert was unique in that it marked the first appearance, 
in the Institute, of the Double Bass heard as a solo instrument. Mr. 
Torello played a programme made up of a Sonata by Jean-Baptiste Loeillet, 
a Fantasy by Pedro Vails, and a group of shorter works including Qrave 
by Henri Eccles, El Canto de la Vieja by Pedro Vails, Chanson Triste by 
Serge Koussevitzky, Qavotte by Vails, and Mr. Torello's own Polka 
Caprice. In these compositions the Double Bass was revealed as an instru- 
ment far more expressive than is customarily supposed. 

The Ninth Recital, on the evening of March 19, by Josef Hofmann, 
Pianist, was attended with a great demonstration of enthusiasm, for it 
marked our Director's return after a brilliant concert tour of twenty 
appearances and also his first Casimir Hall recital in two seasons. His 
programme included Mendelssohn's Prelude and Fugue in E minor, Opus 
35, Saint-Saens' version of Beethoven's Choir of the Dervishes, Schumann's 
Faschingsschivank aus Wien, Opus 26; a group of compositions by 
Chopin: Impromptu in G flat major, Opus 51, Nocturne in F minor, Opus 
55, No. 1, and Sonata in B minor, Opus 58; with a third group comprising 
Preludes in G sharp minor and A minor by Rachmaninov, Music Box by 
Anatole Liadov, and Mephisto Valse by Franz Liszt. 

Efrem Zimbalist, Violinist, with Harry Kaufman at the Piano, pro- 
vided the Tenth Recital on the evening of March 26. Mr. Zimbalist had 
also only recently returned from an extended concert tour, and his audience 
received him most warmly. The Brahms Sonata No. 3, in D minor, 
Opus 108, for Violin and Piano, was played by Mr. Zimbalist and Harry 
Kaufman, after which Mr. Kaufman continued as accompanist in the 
remainder of the programme, Frederick A. Stock's Concerto in D minor, 
and a last group which included Tarantella by Karol Szymanowski, 
Kuruka-Kuruka by C. Yamada, Josef Suk's Burleska, and the Bizet- 
Sarasate "Carmen" — Fantaisie de Concert. 

I 185] 


On the evening of April 2 Emilio de Gogorza, Baritone, was heard in 
the Eleventh Faculty Recital. Miss Helen Winslow accompanied Mr. 
de Gogorza. The programme was richly varied, offering first the Recitatif 
et Air de Thods from Gluck's Iphigenie en Tauride and Air de Montduciel 
from Pierre Monsigny's Le Deserteur, followed by Hector Berlioz' Void 
des Roses and Serenade from his La Damnation de Faust. More recent 
French composers were represented by three songs by Gabriel Faure: 
Au Cimetiere, Lydia, and Fleur Jetee; Emile Paladilhe's Suzanne; Jules 
Massenet's Promesse de mon Avenir from Le Roi de Lahore; and three 
songs by Claude Debussy : Ballade, Chevaux de Bois, and Void que le 
Printemps. A final group were three songs by Enrique Granados arranged 
for Mr. de Gogorza by the composer — La Maja Dolorosa, No. 1, Cancion 
del Postilion, and El tra la la y el punteado. 


Faculty recitals which remain to be heard will be those by Carlos 
Salzedo, Harp, with William Kincaid, Flute, and Felix Salmond, Violon- 
cello, collaborating, on May 7, and Abram Chasins, Pianist, on May 14. 


Efrem zimbalist left Philadelphia on April 3 for Havana, Cuba where 
he gave two recitals on April 8 and 10. On April 23 he will appear 
in Brooklyn, New York, and on April 29 in Orange, New Jersey, with still 
another concert arranged for Montclair, New Jersey, on May 2. In early 
June Mr. Zimbalist expects to depart for a five-months' concert tour of 
the world, making his first concert appearances in Java. Mr. Harry 
Kaufman will go with him as Accompanist. 

On April 6, 7, 13, and 14 Lynnwood Farnam continued his series of 
organ recitals of "Bach and his Forerunners", playing works by Georg 
Bohm, J. S. Bach, Johann Michael Bach, Buttstedt, Buxtehude, Hofhaymer, 
Antonio de Cabezon, Jean Titelouze, Gibbons, Scheidt, and others. Two 
more programmes remain to be heard. 

Also on April 3 Madame Luboshutz left for a four-weeks' sojourn in 
California. She will resume her teaching in May. 

I 186 1 



he BROADCASTING of radio concerts over the Columbia System 
(Station WABC in New York and a nation-wide network of 
stations) by The Curtis Institute of Music continues to take 
place on Friday evenings at 10:30 Eastern Standard Time. 
The Sixteenth concert, on March 21, presented a programme slightly 
different from that announced last month, since there were no soloists. 
Six works were played by The Curtis Orchestra, conducted by Emil 
Mlynarski, as follows: Paul Dukas' tone poem, The Sorcerer s Apprentice, 
the Minnetto, Adagio, and Carillon from Bizet's The Arlesienne Suite, and 
Hungarian Dances Nos. 5 and 6 by Johannes Brahms. 

The Seventeenth concert on March 28 presented three interesting groups 
for Harp and Orchestra, Soprano, and Woodwind Ensemble. Miss Edna 
Phillips, artist-student of Carlos Salzedo, played Claude Debussy's Danses 
Sacre et Profane, assisted by a Chamber Orchestra composed of Carmela 
Ippolito and Henry Siegl, First Violins, James Bloom and Robert Gomberg, 
Second Violins, Sam Goldblum and Paull Ferguson, Violas, Frank Miller, 
Violoncello, and Jack Posell, Double Bass. Miss Eleanor Lewis, Soprano, 
artist-student of Harriet van Emden, followed with a group of songs 
including Tipton's Spirit Flower, Strauss' Pride of my Heart, and the Old 
Irish Air, The Last Kpse of Summer. Miss Lewis was accompanied by 
Theodore Saidenberg, a student in Accompanying of Harry Kaufman. A 
final group included three unusual works for Woodwind Ensemble, Paul 
de Wailly's Aubade, Gabril Pierne's Pastorale Variee (selections), and 
Passacaille by Barthe. These were played by Maurice Sharp, Flute, Robert 
Bloom, Oboe, Robert McGinnis, Clarinet, James Thurmond and Henry 
Whitehead, French Horns, and Ervin Swenson, Bassoon, pupils in En- 
semble under Marcel Tabuteau. 

On April 4 the Eighteenth programme comprised two important 
chamber works and a group of songs for Soprano. Albert Stoessel's Suite 
Antique for Two Violins and Piano was played by Frances Wiener and 
Marian Head, pupils of Edwin Bachmann, and Florence Frantz, student 
of Isabelle Vengerova. Following this, Miss Elsa Meisky, Soprano, sang 
Gounod's Ave Maria, Allitsen's The Lord is my Light, and Handel's Largo, 
accompanied at the Piano by Joseph Rubanoff, at the Organ by Alexander 
McCurdy, Jr., and with a Violin Obbligato provided by James Bloom. 
The final work to be broadcast was Hugo Wolf's Italian Serenade, per- 
formed by the Swastika Quartet. 

I 187 1 





























Glimpses of the Institute 


jN the main building of The Curtis Institute, the Common 
Room, which one enters directly from the street, serves as a 
place of friendly gathering and social intercourse when one has 
classes or appointments in this part of the school. In the 
nearby "Stringed Instruments and Theory Building", the entrance foyer 
opens into a serenely white and cool Hall, part of which is reproduced in 
the accompanying photograph — a Hall which, together with the adjoining 
Reception Room (a photograph of this appeared in the February issue), 
serves more or less as a similar place for relaxation. 

It is a long and beautifully proportioned room, whose splendid marble 
floor and staircase, immaculately white, arouses frequent admiration. The 
handsome iron balustrade leads one unresistingly along as the stairs wind 
on up for three more flights. Here students pass regularly to lessons with 
Professor Leopold Auer, Efrem Zimbalist, Madame Lea Luboshutz and 
Madame Vera Fonaroft, Edwin Bachmann, Albert Me iff, Leonid Bolotine, 
and other members of the Violin Department whose studios are to be 
found in this building. Here also are held the classes in Elementary Counter- 
point and Harmony with Mr. Ernest Zechiel and classes in Solfege with 
Madame Renee Longy Miquelle and Anne-Marie Soffray, under the 
personal supervision of Rosario Scalero, the Head of the Department of 

Sooner or later everyone associated with the Institute passes through 
this richly designed but entirely simple Entrance Hall, for it leads to one 
of the most popular departments of all — the Dining-Room ! Architecture 
has been called "frozen music", and, conversely, musicians, both students 
and teachers, can not help being affected by their daily contact with the 
perfect symmetry, the clarity of line, and restrained ornamentation of such 
a room as this. 

I 189! 

Music Calendar 

April 1^ '3° 

15 — "Louise", New York Metropolitan Opera Company, evening, final appearance 

of the season. 
15 — Students of Anton Torello, Double Bass, and William Kincaid, Flute, Casimir 

Hall, evening. 
17 — Students of Anton Horner, French Horn, Casimir Hall, afternoon. 
19 — Philadelphia Orchestra and Mendelssohn Club, Academy of Music, evening. 

21 — Philadelphia Orchestra and Mendelssohn Club, afternoon. 

24 — "Aida", Philadelphia Grand Opera Company, Academy of Music, evening, 

final appearance of the season. 
25 — Philadelphia Orchestra, afternoon. 

25 — Broadcasting Twentieth — and Final — Radio Concert, Casimir Hall, evening. 
26 — Philadelphia Chamber String Simfonietta, Children's Concert, Bellevue-Stratford 

Ballroom, 11 :00 A.M., ends season. 
26 — Philadelphia Orchestra, evening, closing concert. 

27 — The Hall Johnson Choir from "The Green Pastures", Penn Athletic Club, 

28 — Students of Efrem Zimbalist, Violin, Casimir Hall, evening. 
28 — Tito Schipa, Tenor, Academy of Music, evening. 
29 — The Curtis Orchestra, Tatiana de Sanzewitch, Piano, Judith Poska, Violin, and 

Tibor de Machula, Violoncello, Academy of Music, evening. 
30 — Students of Emilio de Qogorza, Casimir Hall, evening. 

May 1-1$ 

1 — Students of Harriet van Emden, Casimir Hall, evening. 
2 — Students of Isabelle Vengerova, Casimir Hall, evening. 

5 — Students in Composition of Rosario Scalero, Casimir Hall, evening. 
7 — Carlos Salzedo, Harp, with William Kincaid, Flute, and Felix Salmond, Violon- 
cello, Collaborating Artists, Casimir Hall, evening. 
8 — Students of Horatio Connell, Casimir Hall, evening. 
9 — Students of Marcella Sembrich, Casimir Hall, evening. 
10 — Students of Marcella Sembrich, Casimir Hall, 3.00 P.M. 

12 — Students of Lea Luboshutz, Casimir Hall, evening. 

13 — Students of Louis Bailly, Casimir Hall, evening. 

14 — Abram Chasins, Piano, Casimir Hall, evening, final Faculty Recital of season. 

15 — Students of David Saperton, Casimir Hall, evening. 




The Monthly Publication of The Curtis Institute of Music 



rlttenhouse square 
Philadelphia - Pennsylvania 




Vol. I— No. 8 May, 1930 





Editorial Comment 195 

The Harp — Medium of the Modern Age Carlos Salzedo 198 

The Piano as a Medium of Expression Abram Chasins 201 

Faculty Activities 203 

Student Activities 

Casimir Hall 204 

Opera 208 

Orchestra 209 

Chamber Music 211 

Radio 211 

Concert Course 212 

Other Events 212 

Glimpses of the Institute 

VII. Bourdelle's Beethoven — Mon Domdine C'est TJ air 215 

Index to Volume 1 216 


Carlos Salzedo, Head of the Department of Harp 194 

Mr. Louis Bailly and Students in Final Concert in Pennsylvania 

Museum of Art 210 

Bourdelle's Beethoven — Mon Domaine C'est Uair 214 

Permission is granted to reproduce parts of this magazine provided due acknowledgment is made to Overtones 
Copyright 1930 by The Curtis Institute of Music. Printed in the United States of America 


CARLOS SALZEDO, Head of the Department of Harp 

I 194 1 

Editorial Comment 

F ONE SCANS the monthly Music Calendars of the issues of Over- 
tones for the past season, it soon becomes apparent that the 
musical events of Philadelphia are of an abundance and high 
quality scarcely to be surpassed in any other city but New York. 
The opportunity of hearing music in public concerts is especially valuable 
to the student, who naturally requires both the experience of hearing wide 
varieties of music, in various genres, and the inexhaustible profit of wit- 
nessing the example of virtuoso performances by great artists — not alone 
in the teacher's studio, but, so to speak, "in action" before the type of 
audience with which some day the present student will be confronted. 

By means of the provisions for tickets which The Curtis Institute makes, 
many of its students this year were enabled to hear, without cost to them, 
various performances among the 30 or more pairs of The Philadelphia 
Orchestra, the 12 productions of The Philadelphia Grand Opera Company, 
the 23 appearances of The New York Metropolitan Opera Company, the 8 
meetings of The Chamber Music Association (presenting such world- 
famous groups as the Lener, London, and Pro Arte String Quartets), the 5 
concerts of the Philadelphia Chamber String Simfonietta, the 5 visits of the 
New York Philharmonic-Symphony Orchestra, and others. In addition 
there were performances by the Philadelphia Civic and German Grand 
Opera companies, concerts by the Brahms Chorus and the Mendelssohn 

I 1951 


Club, the musical events of The Philadelphia Forum, and the 15 or more 
concerts in the Penn Athletic Club Series. 

Within the Institute there have been presented this season 12 Faculty 
Recitals, and with the completion of the current month there will have been 
given 37 Students' Concerts. It has been said by persons who are supposed to 
know that these concerts in Casimir Hall often surpass those heard outside. 
Certainly the Faculty Recitals afford a hearing of great artists who appear 
but rarely before the general public in Philadelphia, and many of the 
Students' Concerts present those who have already attained the rank of 
"artist". Again, the programmes heard need to make no concessions to 
popular taste, with the result that the very finest music in the various 
repertoires is given performances which would otherwise occur but rarely. 
This is especially true of much of the chamber music for stringed and wind 
instruments, which is not often heard in public concerts. It is obvious that 
these abundant and excellent recitals constitute one of the great advantages 
to be found in the "conservatory" type of musical education. 

Interesting facts may be gained from a survey of tabulations regarding 
the students enrolled for this season. Thirty-five states in this country 
are represented, with the largest groups coming from Pennsylvania, New 
York, California, Massachusetts, Michigan, Ohio, and New Jersey. From 
outside the United States there are students from Canada, Cuba, England 
and Scotland, France, Germany, Hawaii, Holland, Hungary, Italy, Lith- 
uania, Poland, Porto Rico, and Russia. Students and members of the 
faculty who are not American citizens will be interested to learn of the 
pamphlet which has been printed privately by The Curtis Institute of Music. 
Without pretending to be a complete review of the immigration and 
naturalization laws, it gives enough to provide a ready knowledge of the 
requirements in ordinary cases. The practical information regarding Immi- 
gration and Naturalization will be found to be most helpful. In fact, the 
pamphlet contains much which it is imperative for "alien" students of the 
Institute to know in determining correct procedure. 

I 196] 


Most of us have already succumbed to the pianistic skill and conver- 
sational charm of the young lady of five years who recently came to 
join us — Miss Ruth Slenczynski. After the occasion of her first lesson with 
Madame Vengerova, Ruth confessed to us with a clairvoyant look into the 
future that her last lesson would be a matter of many years hence — perhaps 
not until she were "twenty" ! In spite of the remarkable things she does at 
the piano, there is nothing about her suggestive of the "prodigy" in its 
conventionally unpleasant sense. She is a sturdy, quite natural, unaffected 
little girl, and let us hope that she will preserve these qualities throughout 
her life. Other youngsters have come to us : Harry Wolf, aged eight, who is 
studying violin with Madame Fonaroft; Eugene Orloft, also eight, studying 
violin with Madame Luboshutz; Broadus Erie, ten years old, a pupil of 
Madame Luboshutz; and Sol Kaplan, aged eleven, studying piano with 
Madame Vengerova. Lest it seem to some that we are tending strongly 
towards prodigies and primary school ages, we hasten to recall our numerous 
older students, some of them close to thirty, and to point out the fact that 
the present average age of students is almost 21 (as it has been for the past 
three years). When one compares this with the average age of the college 
student of today, and that of the student in the majority of music schools, 
it will be seen that the student age here is fairly mature and in keeping with 
the "graduate school" standard of instruction offered. 

Attention is called to the Sixth Biennial Exhibition of Sculpture-in- 
-/v. the-Open-Air now being held in Rittenhouse Square. The Curtis 
Institute is cooperating with The Art Alliance of Philadelphia and other 
interested organizations in making possible this exhibition, as it did two 
years ago when Rittenhouse Square was first utilized for this purpose. 

Piiiii ffff iilliliiiliir 

illiiiniliHKIEEEH I 

i 197 1 

The Harp — Medium of the 
Modern Age 


Editor's Note : This article has been submitted by way of reply to the Open Letter 
of the Director which appeared in the November issue of Overtones. Similar articles 
by other faculty members tvill be printed in the numbers to follow. 

he question has often been asked how it was that I chose the 
harp. There is no romance attached to the story. My early 
music study can be summarized briefly — the study of solfege 
and piano begun at the age of three, entrance in the Bordeaux 
conservatory at seven, admission to the Paris Conservatoire at nine, and 
graduation in solfege at twelve, receiving at the same time a first medal 
for piano and admission to the advanced piano classes. 

My first composition, written at the age of seven, was a Sonata for 
piano. At the Conservatoire the piano continued to be my major, but this 
unicolored medium did not entirely satisfy. Previously I had studied the 
violin, but the four-stringed instruments were not strongly attractive. 
Thus I began the study of the harp also as a major subject. Piano and 
harp were studied equally, and on graduating, at the age of sixteen, I 
received on the same day the premier prix in both instruments. * 

Following this, Edouard Colonne, founder of the famous Concerts 
Colonne, engaged me as soloist, and in ensuing tours of Europe my pro- 
grammes were divided between harp and piano, while soloist appearances 
with orchestras were equally as pianist and harpist. Finally, at the age of 
twenty-two, composing was taking up so much time that a choice between 
the two instruments seemed necessary. My decision in favor of the harp 
was dictated by the fact that there was an abundance of master pianists, 
with on the other hand a decided insufficiency of harp virtuosi and harpists 
of outstanding musical ity. 

Before the World War, the harp was still in its infancy. It could be 
compared to a pipe organ with only five or six stops. This was due to 

*This was unprecedented in the annals of the Paris Conservatoire and has never 
happened since. — (Editor's Note). 

I 198! 


mechanical and sonorous limitations of the instruments built previously. 
As a matter of information, let us recall that at the beginning of the 
nineteenth century the harp could be played in only a few keys: nothing 
beyond four sharps and three flats. This indicates one of the reasons why 
composers of that period were not attracted towards writing for such a 
limited instrument. It was in 1811 that the famous French piano maker, 
Sebastien Erard, remedied this deficiency by inventing the double pedal 
action, thus making it possible to play the harp in every key. However, 
the harp of the nineteenth century was an instrument of little carrying 
power; it bore the same relation to a concert grand harp of today as the 
harpsichord of the past bears to a modern concert grand piano. This lack 
of sonorous efficiency also explains why composers of the past century did 
not write for the harp. It is true that in this time a great amount of music 
was written for the harp — by harpists. But what music! Musical sensi- 
bility forbids comment. 

It took the genius of a Debussy to reveal the true utterance of the harp 
and determine its function. His vision, however, was hampered by the 
fact that his experiments were made with the French harps. These lovely 
instruments can not be compared to the sonorous splendor of the concert 
grand harp made today in America.. 

Composition for the harp proved more and more absorbing as it 
revealed the unexplored possibilities of this instrument. It appeared that 
the harp could be made to produce numerous tone-colors and effects never 
before considered possible — not even by harpists themselves! In short, 
within two years' time the instrument had gained an entirely new meaning 
by the affirmation of my discoveries, made practicable through the medium 
of symbols. These tone-colors and effects, though by no means exhausted, 
number at present more than thirty-five. 

Few musicians have as yet had the opportunity of grasping the nature 
of the harp. Not even its fundamental voice is understood. It has often 
been "blamed" for not possessing qualities that belong properly to other 
instruments. It lacks, pianists say, a "real staccato" and a "real legato". 
True. But one does not hear the piano criticised for not being able to 

I 199! 


render effects characteristic of the harp, such as "muffled", "xyloharmonic", 
"guitaric", "brassy", "metallic", "xylophonic", "vibrant", "whistling", 
"fluidic", and "rocket-like" sounds; "falling-hail" and "rolling-surf" 
effects; "Eolian Tremolo", "gushing chords", "fluidic glides"; the various 
kinds of harmonics (in the octave, twelfth, fifteenth, and the like); and 
percussion effects such as "tam-tam", "timpanic", and "thunder". 

There is a paradox as regards the harp. The less that people know 
about this instrument, the more they tend to express authoritative opin- 
ions of its potentialities. A statement generally made by reviewers who 
hear the harp for the first time is that "the harp is the most ancient of 
musical instruments". While this is true historically speaking, it is, music- 
ally, a fallacy. For the- harp of the Jews, Egyptians, Greeks, Irish, and so 
forth, bears as much relation to the harp of 1930 as an ox — historically the 
oldest means of transportation — to an airplane, scientifically the most 
modern instrument of transportation. The statement quoted above is 
often followed by the remark that "the harp is a very limited musical 
instrument". Another fallacy! There will be less talk of these so-called 
"limitations" when people become adequately informed concerning the 
most modern aspects of the instrument. 

The wealth and variety of musical color and effects of the contem- 
porary harp has already induced leading composers of our times to enrich 
music literature with works for harp solo, harp as a basis for chamber 
music, and harp with accompaniment of orchestra. This literature, al- 
though not yet very large, includes works no less significant and musically 
important than those written for the other concert instruments. In short, 
our repertoire, as it now stands, may be said to present the harp as a true 
medium of the modern age. 

I 200 1 

The Piano as a Medium of Expression 


Pointing OUT the superior qualities of one's medium of expres- 
sion necessitates being obvious. To state it briefly, the whole 
realm of music knows no literature for any one instrument that 
can even remotely compare in scope, variety or wealth to the 
literature of the piano. It is true that it cannot attain the perfection of 
the violin or the human voice, nor the vast sonority of the organ, nor can 
it vie with the beautiful color of the oboe . . . but in itself it is magnifi- 
cently complete. The piano possesses a compass greater than the orchestra, 
an enormous range of tone, a tremendously developed technique, and, 
paramountly important, it is essentially a polyphonic instrument. It is the 
favored home instrument, the medium through which orchestral scores 
may be unraveled, and the musical looking-glass of the composer. Almost 
all musicians worthy of the name use it as an intimate companion regardless 
of whether or not they are pianists. 

I know that in my own case I did not "choose" the piano. As a small 
child, I adored music, was found to have absolute pitch, and, since there 
was a piano in our home, I began to pick out tunes on it and subsequently 
to take lessons. 

Psychology has helped us greatly on the point of the importance of 
habit. When most people use the word habit they mean, in the majority 
of instances, a bad habit. But as a matter of fact our virtues are habits 
as much as our vices. All our life is but a collection of habits . . . practical, 
emotional, and intellectual . . . bearing us towards our destiny, whatever 
that may be. The habit of expressing oneself upon an instrument must not 
be underestimated. 



Our systems grow to the way in which they have been exercised, just 
as a sheet of paper, once creased or folded, always and forever after will 
tend to fall into the identical folds. That, in my humble estimation, is 
the way children become partial to one instrument. After adolescence, 
when their discrimination might lead them to feel that their medium of 
expression is a limited one, the instinctive propensions are faded and new 
habits are difficult, if not impossible, to acquire. 

However, in one sense Art has no love of the specialist ... is it not 
her great claim that she is universal and that in all her manifestations she 
is one? 

I 202]} 

Faculty Act unties 


j|HE twelfth and final Faculty Recital for this season occurred on 
Wednesday evening, May 7, when Carlos Salzedo, Harpist, was 
heard, with Felix Salmond, Violoncellist, and William M. 
Kincaid, Flutist, collaborating. The programme opened with 
an eighteenth century Sonatc by Jean-Marie Leclair, for Flute, Violoncello, 
and Harp. Mr. Salzedo played Five Preludes, for harp alone (Lamentation, 
Quietude, Iridescence, Introspection, Whirhvind), after which the three 
instruments were again heard in a transcription en trio by Mr. Salzedo of 
Maurice Ravel's Sonatine for piano. 

The recital by Abram Chasins, Pianist, announced in a previous issue 
to take place on May 14, did not occur, nor will Mr. Chasins, who is not 
entirely recovered from his recent illness, be heard at all this season. 



YNNWOOD farnam has completed his series of "Bach and his Fore- 
runners" in the last two programmes, which were played on April 20, 
21, and 27 at the Church of the Holy Communion, New York, and on 
April 28, under the auspices of The National Association of Organists, at 
St. George's Church, New York. Among the composers represented were 
Johann Pachelbel, Delphin Strungk, Johann Kuhnau, Cristoforo Malvezzi, 
Orlando Gibbons, and J. S. Bach. 

Next season Mr. Farnam plans to give three series in New York: 
"Bach and his Forerunners", "Modern Organ Music", and "Bach" 
(including a presentation of The Art of Fugue). It is of interest to learn 
also that Mr. Farnam will play the complete works of Bach in a series of 
eighteen recitals at St. James's Church, Philadelphia. 

Carlos Salzedo played at the Maine Festival on May 16. 


Student Activities 


ith NO LESS than eighteen Students' Concerts — out of the thirty- 
seven for this season — occurring since last month's issue of 
Overtones, limitations of space will not permit a complete 
printing of the works performed.* However, they are suffici- 
ently important in their rich variety and frequently unusual character to 
warrant a limited resume in these pages. 

Students of Mr. Torello in Double Bass participated in the first half of the 
Twentieth concert on Tuesday evening, April 15, when Oscar Zimmerman, assisted 
by Max Goberman, Violin, played Three Pieces, by Corelli-Torello, for Violin and 
Double Bass, Giorgio Antoniotti's Sonata in Q minor, and Bottesini's Tarentella. 
Jack Posell played works by Lorenzitti-Nanny and Emile Ratcz. 

Mr. Kincaid's students in Flute participated in the second half of the same 
concert, when works by Bach, Griffes, and Chaminade were played by Ardellc 
Hookins, Maurice Sharp, and Richard Townsend; and Albelardo Albisi's La Sorgente 
from Second Suite Miniature for Three Flutes was performed by Maurice Sharp, 
George Drexler, and John Hreachmack. 

Students of Mr. Horner played works for Horn in the Twenty-First recital on 
Thursday afternoon, April 17. James Thurmond and Ruth Jewett, a pupil of Mr. 
Saperton, collaborated in Beethoven's Soyiata in F major, for Horn and Piano; 
Theodore Seder and Henry Whitehead divided Mozart's Concerto in E flat major 
between them; and Heinrich Hubler's Concertstuck. in F major was played by Messrs. 
Thurmond, Seder, Whitehead, Attillio de Palma, Harry Berv, Sune Johnson, and 
Luke del Negro. 

The Twenty-Second concert, on Monday evening, April 28, was by three students 
of Mr. Zimbalist in Violin. Iso Briselli and Joseph Levine, a student of Mr. Hofmann, 
gave a first performance here of Schumann's Sonata in A minor, Opus 105; Carmela 
Ippolito played the Stock Concerto in D minor; and Philip Frank was heard in Saint- 
Saens Concerto, No. 3, in B minor, Opus 61. Theodore Saidenberg was at the Piano 
in the last two works. 

*Those who may wish a complete version of any one of these recitals are referred to the Concert 
Programmes which are bound and kept accessible in the Library of the Institute. 

1204 1 


Mr. de Gogorza's Voice students gave the Twenty-Third recital on Wednesday 
evening, April 30. Benjamin de Loache, Baritone, sang an Old English ballad and 
songs by Handel and Rubinstein; Abraham Robofsky, Baritone, works by Gounod 
and Moussorgsky; Benjamin Groban, Baritone, a group by Gluck, Ravel, and Mous- 
sorgsky; Fiorenzo Tasso, Tenor, songs by Respighi, Cimara, and Puccini; and Conrad 
Thibault, Baritone, works by Mahler, Brahms, Hahn, Chabricr, Duparc, and 
Debussy. An interesting closing performance was that ot Verdi's Miserere from // 
Trovatore, sung by Mr. Tasso and Mildred Cable, Soprano, a pupil of Madame 
Scmbrich, who at the last moment substituted for Agnes Davis when illness prevented 
the latter from participating. The two were assisted by an off-stage Chorus of two 
tenors and tour baritones. Miss Helen Winslow and Mr. Saidcnberg assisted at the 
Piano, with Lawrence Apgar at the Organ. 

A second Voice recital was presented by students of Miss van Emden on Thursday 
evening, May 1, in the Twenty-Fourth concert. Irene Singer and Paceli Diamond, 
Sopranos, were heard in a Duet from Rossini's Stabat Mater, while another selection 
from the same work was sung by Miss Singer and a vocal quartet. Frances Sheridan, 
Soprano, contributed a group of songs by Bizet, Schumann, Brahms, Huerter, and 
Liza Lehmann; Eleanor Lewis, Soprano, works by Weber, Richard Strauss, Brahms, 
Mahler, and Wolf; and Selma Amansky, Soprano, two groups of works by Casella, 
Rudolph Mendclbcrg, Tschaikowsky, Chasins (first performances, with the composer 
at the Piano), Fourdrain, and Gounod. Earl Fox and Mr. Saidcnberg assisted at 
the Piano, while Alexander McCurdy, Jr. was at the Organ in the first group. 

Students of Rosario Scalero in Composition presented a programme of Original 
Compositions in the Twenty-Fifth concert on Monday evening, May 5. Alice 
Noonan's Choral and Fugue and Eleanor Meredith's Choral Prelude and Fugue, 
both for Organ, were played respectively by Carl Weinrich and Lawrence Apgar; 
Jeanne Behrend's Fugue in D and Gian-Carlo Menotti's Eleven Variations, for Piano, 
were performed by Miss Behrend; Berenice Robinson's Three Songs and Edith Evans 
Braun's Tivo Songs were sung by Helen Jepson, Soprano, with Mrs. Braun at the 
Piano; the Adagio from the latter's Piano Sonata was played by Martha Halbwachs; 
and lastly, Samuel Barber's Serenade for String Quartet was performed by the 
Swastika Quartet. 

Voice students of Horatio Connell were heard in the Twenty-Sixth concert on 
Thursday evening, May 8 — Walter Vassar, Baritone, in songs by Schubert and Verdi, 
together with a Negro Spiritual; Albert Mahler, Tenor, in a group by Puccini, 
Maurice Besly, and Massenet; Florence Irons, Soprano, in works by Mozart, Charles 
Horn, and Weber; Herman Gatter, Tenor, in songs by Mascagni, Brahms, and 



Halevy; Rose Bampton, Contralto, in a group by Bach, Schubert, and Gounod; 
Daniel Healy, Tenor, in an Old French song and works by Beethoven and Wagner; 
Arthur Holmgren, Baritone, in songs by Schubert and Wagner; and Helen Jepson, 
Soprano, in a group by Joseph Marx, Reger, and Gounod. Brahms' Quartet: How 
Lovely is Thy Dwelling Place from the Requiem, Verdi's Quartet: Bella figlia 
delV amore from Rjgoletto, and Donizetti's Sextet: Chi mi frenza from Lucia were 
sung by various combinations of the students named above and Clarence Reinert, 
Baritone. Messrs. Rubanoff and Fox and Miss Elizabeth Westmoreland were at the 
Piano, while Alexander McCurdy, Jr., Organ, and Edna Phillips, Harp, also assisted. 

The fourth and last of this season's Voice recitals was that given by students of 
Madame Sembrich in the Twenty-Seventh concert, on Friday evening, May 9. 
Natalie Bodanskaya, Lyric Soprano, began with songs by Torelli, Bizet, Marx, 
Horsman, and Hageman; Charlotte Simons, Lyric Soprano, sang works by Cesti, 
Verdi, Richard Strauss, Watts, and Hageman; Genia Wilkomirska, Dramatic Soprano, 
was heard in a group by Ponchielli, Tschaikowsky, Wagner, and Verdi; substituting 
for Henrietta Horle, whose illness prevented her from singing, Edna Corday, Soprano, 
continued with songs by Tipton, Bemberg, Tschaikowsky, and Sir Landon Ronald; 
while Josephine Jirak, Contralto, ended the programme with a group by Handel, 
Strauss, Schumann, Erich J. Wolff, Wagner, and Schubert. Sylvan Levin was at the 
Piano, while Alexander McCurdy, Jr., assisted at the Organ during Josephine Jirak's 
Handel aria. 

Violin students of Madame Luboshutz participated in the Twenty-Eighth recital 
on Monday evening, May 12, when Eva Stark played the Bach-Siloti Partita in E 
minor; Henry Siegl, the First Movement of Dohnanyi's Concerto in D minor; Robert 
Gomberg, the Berceuse by Faure and Valse Caprice by Saint-Saens — Ysaye; and 
James Bloom, the First Movement of Elgar's Concerto in B minor, Opus 61. Joseph 
Rubinoff, student of Mr. Kaufman, assisted at the Piano. 

Chamber Music made up the Twenty-Ninth programme, presented by pupils of 
Mr. Bailly on Tuesday evening, May 13. Beethoven's Trio in B flat major, Opus 
97, was played by Joseph Levine, Piano, Iso Briselli, Violin, and Orlando Cole, 
Violoncello. A first performance (with an immediate repetition at the audience's 
demand) was given of Francis Poulenc's highly original work, Le Bestiaire ou cortege 
cVOrphee (after the poems of Guillaume Apollinaire), by Rose Bampton, Contralto, 
Philip Frank and Ladislaus Steinhardt, Violins, Samuel Goldblum, Viola, Samuel 
Geschichter, Violoncello, Maurice Sharp, Flute, James Collis, Clarinet, and William 
Santucci, Bassoon. Brahms' Sonata in E flat major, Opus 120, No. 2, was performed 
by Robert McGinnis, Clarinet, and Jean-Marie Robinault, Piano. 



Piano pupils of Madame Vcngcrova appeared in the Thirtieth programme, on 
Wednesday evening, May 14. Selma Frank played compositions by Mozart, Weber, 
Medtner, and Toch; Cccille Geschichter, pieces by Rameau-Leschetizky, Medtner, 
Arensky, and Chopin; Eugene Helmer, works by Bach-Busoni and Rachmaninov; 
Belle Braverman, music by Gluck — Saint-Saens, Schumann, and Wagner-Brassin; 
and Florence Frantz, a group by Brahms, Ravel, Debussy, and Liszt. 

The Thirty-First recital was presented by Leonid Bolotine, Violin, graduate 
student of Mr. Zimbalist, on Thursday evening, May 15, when his programme 
included Rosario Scalero's Fourteen Variations on a Theme by Mozart, Opus 8; 
Jean Sibelius's Concerto in D minor, Opus 47; Brahms's Intermezzo, Opus 117, No. 2, 
transcribed for Violin by Mr. Bolotine; and works by Rimsky-Korsakoff, Kreisler, 
and Rimsky-KorsakorT — Zimbalist. Mr. Saidenberg was at the Piano. 

Clarinet students of Mr. Cailliet and Bassoon students of Mr. Guetter shared 
the Thirty-Second concert on Tuesday afternoon, May 20. James Collis, Leon 
Lester, Robert Hartman, Felix Meyer, and Robert McGinnis were heard in works 
for Clarinet by Brahms, Mozart, Reynaldo Hahn, and Debussy, with Earl Fox 
assisting at the Piano. In the second half of the programme William Polisi and 
Frank Ruggieri each played a movement of Mozart's Concerto in B flat, for Bassoon, 
while Erwin Swenson performed Julius Weissenborn's Ballade and Scherzo. Joseph 
Rubanoft was at the Piano. 

Students in Piano of Mr. Hofmann played in the Thirty-Third programme on 
Wednesday evening, May 21. Joseph Levine began with Schumann's Kreisleriana, 
Opus 16, and the first movement of Rubinstein's Concerto in D minor. Martha 
Halbwachs played Mozart's Nine Variations on a Minuet by Duport, Brahms' 
Ballade in D minor, Schumann's Intermezzo in B minor, and three Chopin Etudes — 
Opus 10, No. 4 and Opus 25, Nos. 6 and 11. Leonard Cassini continued with 
Chopin's Concerto in E minor, Opus 11, and Liszt's Venezia e Napoli. Jeanne Behrend 
performed the Franck Prelude, Choral and Fugue and Chopin's Scherzo in B 
flat minor, Opus 31. Tatiana de Sanzewitch concluded the programme with Bach's 
Fantasy in D major and Isaac Albeniz's Seguidillas and Prelude. Theodore Saiden- 
berg, a student of Mr. Kaufman in Accompanying, played at a second piano the 
orchestral parts of the Rubinstein and Chopin concertos. 

The Thirty-Fourth programme was again devoted to Chamber Music, played 
by students of Mr. Bailly, on Thursday evening, May 22. Arensky's Piano Trio 
in D minor, Opus 32, was played by Yvonne Krinsky, Piano, Iso Briselli, Violin, 

1207 1 


and Frank Miller, Violoncello. Mendelssohn's Octet in E flat major, Opus 20, 
for Four Violins, Two Violas, and Two Violoncelli, was presented by Oscar Shum- 
sky, Henry Sicgl, James Bloom, Jack Kash, Max Aronoff, Leonard Mogill, 
Florence Williams, and Samuel Geschichter. 

Pidno pupils of Mr. Saperton will be heard on Monday evening, May 26, 
in the Thirty-Fifth recital. Jeanettc Weinstein will play works by Bach, Schumann, 
and Mendelssohn; Lilian Batkin, two pieces by Mendelssohn and three by Chopin; 
and Jorge Bolet, Cesar Franck's Prelude, Choral and Fugue, Manuel dc Falla's 
Cubana and Andaluza, and Strauss — Schulz-Evler's Concert Arabesques ou The 
Blue Danube Waltz- 

The Thirty-Sixth recital by Mr. Farnam's students in Organ, will take place 
on Tuesday evening, May 27. Helen M. Hewitt will play works by Widor and 
Bach; Alexander McCurdy, Jr., compositions by Schumann and Bach; Lawrence 
Apgar, selections by William Byrd and Bach; Carl Wcinrich, two movements from 
Vierne's Fifth Symphony; and Robert Cato, two further works by Bach. 

Students in Viola of Mr. Bailly are to participate in the season's final Students' 
Concert, the Thirty-Seventh, on Wednesday evening, May 28. Leonard Mogill 
and Paull Ferguson will perform Bach's Sixth Bradenburg Concerto, in B flat major, 
with Theodore Saidenberg providing his own piano reduction of the orchestral 
score. Leon Frengut will play Jongen's Suite, Opus 48; Leonard Mogill, Georges 
Hue's Theme varie; and Max Aronoff, a new work by Henri Biisser: Catalane, sur 
des aires populaires Basques. Yvonne Krinsky, a pupil of Mr. Kaufman, will be 
at the Piano in the last three works. 


A RTlST-STUDENTS of The Curtis Institute of Music again participated 
A in professional opera when The Philadelphia Grand Opera Company 
staged Aidd as its final production for this season. The distinguished cast 
included such eminent artists as Cyrena van Gordon (of the Chicago Opera 
Company), Marianne Gonitch, Josef Wolinski, John Charles Thomas, Ivan 
Steschenko, and Leo de Hierapolis. The Institute was represented by 
Albert Mahler, as A Messenger, and Florence Irons, as A Priestess. Both 
are students of Mr. Horatio Connell. 

1208 1 



The CURTIS orchestra, Emil Mlynarski, Conductor, gave its fourth 
and final public concert for this season on Tuesday evening, April 29, 
in the Academy of Music, in Philadelphia, after having played earlier in 
the season in Philadelphia, Bryn Mawr, and Boston. The final programme 
opened with Wagner's Vorspiel und Liebestod from Tristan und Isolde, 
and continued with Brahms' Double Concerto in A minor, for Violin and 
Violoncello with Orchestra, played by Judith Poska, student of Madame 
Luboshutz, and Tibor de Machula, student of Mr. Felix Salmond; Richard 
Strauss's Symphonic Tone-Poem, Don Juan; Cesar Franck's Symphonic 
Variations for Piano and Orchestra, played by Tatiana de Sanzewitch, 
student of Mr. Josef Hofmann; and, lastly, Smetana's Overture to The 
Bartered Bride. 

In reviewing this concert, the music critic of the Ledger wrote: 
"To say the orchestra played well is to use the mildest of terms, especially when 
it is considered that the three numbers performed tax the playing ability of the best 
professional organizations in matters of tone, ensemble and in many passages of actual 
technique ... It is doubtful ii a non-professional orchestra of the caliber of this of 
the Curtis Institute has ever been assembled anywhere." 

The Inquirer 's critic felt that 

"These youthful musicians gave a performance that admirably augmented the 
regular symphonic seasonal series, not only in intrinsic interest of the offerings, and 
conspicuous technical finish . . . but also in the more elusive and intangible element 
of interpretive taste and feeling tor emotional expression. ... It is not excessive to 
say that the playing of these 101 student musicians . . . would have been a credit to 
two professional symphony orchestras that formerly visited Philadelphia." 

In the Bulletin it was observed of the three soloists: 
"Much has already been written of Mr. de Machula and he has been showered 
with praise wherever he has appeared. There can be little doubt that not only is he 
an exceptionally talented student, but also that he has already captured that elusive 
spark of vitality that distinguishes the mature artist. His colleague in the Brahms 
opus, Miss Poska, displayed an equal technical resource. . . " (Of Miss Sanzewitch) 
"She is not one of these young students of whom it can be said, 'she played thus and 
so, with this or that'. Hers was an artistically complete performance, and a superla- 
tively fine one." 























A total attendance of 13,000 persons was recorded this season at 
the five Chamber Music concerts given by The Curtis Institute of 
Music in the Great Hall of the Museum at Fairmount under the auspices 
of The Pennsylvania Museum of Art. The audience at the fifth concert, 
on the evening of April 13, numbered well over three thousand. These 
concerts were as last year under the direction of Mr. Louis Bailly, and the 
programmes included many important chamber works rarely performed in 
Philadelphia or, for that matter, anywhere in America. 

The Swastika Quartet played in Lambertville, New Jersey, on May 1, 
while on May 7 they appeared at the Dutchess County Musical Associa- 
tion's meeting at Vassar College, Poughkeepsie. The "women's" string 
quartet, made up of Celia Gomberg, Eva Stark, Esther Hare, and Katherine 
Conant, played on Friday afternoon, May 9, in Overbrook at the Convent 
of the Sacred Heart. 


With the broadcasting of the radio concerts on the evenings of 
April 11 and 25 The Curtis Institute of Music brought to a close 
the series of twenty half-hour programmes which it offered this season, over 
the Columbia Broadcasting System (through Station WABC in New York 
and a nation-wide network) on Friday evenings at 10 :30 Eastern Standard 

The Nineteenth concert on April 11 presented The Curtis Orchestra, 
conducted by Emil Mlynarski, in Humperdinck's Overture to Hayisel and 
Qretel and Saint-Saen's Ddnse Macabre. Oscar Shumsky, Violinist, pupil 
of Professor Leopold Auer, was the soloist, playing the Conus Concerto in 
E minor for Violin and Orchestra. 

The Twentieth and final programme, on April 25, again included 
performances by The Curtis Orchestra. Mozart's Overture to II Seraglio 
and Debussy's Afternoon of a Faun were followed by Cesar Franck's 
Symphonic Variations for Piano and Orchestra, with Tatiana de Sanze- 
witch, a pupil of Mr. Josef Hofmann, as soloist. 




The final recital in the course of twenty-five concerts presented this 
season by The Curtis Institute of Music before schools, colleges, and 
clubs was given on Thursday evening, May 1, before The Salon 
Music Club in the Strand Theatre, Lambertville, New Jersey. Those who 
participated were the Swastika Quartet; Josephine Jirak, Contralto (pupil 
of Madame Sembrich); Leonard Cassini, Pianist (pupil of Mr. Josef 
Hofmann); and Sara Newell, Accompanist (pupil of Mr. Harry Kaufman). 


The numerous professional engagements of students have not per- 
ceptibly diminished even though the season is practically over. Helen 
Jepson, Soprano, pupil of Horatio Connell, made a half-dozen appearances 
during the month of April, among which was that of soloist with the 
Cecilia Club of Hartford, Connecticut, on April 15. On May 12 she was 
soloist with a chorus in Chestertown, Maryland, while on May 13 she 
appeared as soloist with the Municipal Symphony Orchestra in the Penn 
Athletic Club, Philadelphia. 

Florence Irons, Soprano, sang over WLIT on Sunday, May 11, in the 
Public Ledger Concert Hour. Albert Mahler, Tenor, was soloist in the 
Mendelssohn Club Concert with the Philadelphia Orchestra at the Academy 
of Music on April 7, as well as in a number of other more recent concerts 
in the vicinity. Daniel Healy, Tenor, and Elizabeth Westmoreland, Piano, 
will give a recital in Mr. Healy's birthplace, Framingham, Massachusetts, 
on June 1. 

Carmela Ippolito, Violin, student of Mr. Efrem Zimbalist, played in a 
recital at the home of Mrs. Berthold Strauss in Elkins Park on Wednesday 
evening, May 14. 

Tibor de Machula, Violoncello, participated in the benefit concert given 
in Traymore Hall on May 2 by the Philadelphia Hungarian Newspaper, 

I 212 1 


Florence Frantz, a pupil of Madame Vengerova, played in Harrisburg 
on May 7 for the Twelfth Annual Convention of The National Federation 
of Music Clubs, in the Penn Harris Hotel. Earlier in the season she 
appeared before clubs in Norristown; Philadelphia; Dayton, Ohio; Balti- 
more, Maryland; and Providence, R. I. 

During the latter part of April, Alexander McCurdy, Jr., Organ pupil 
of Mr. Lynnwood Farnam, gave three private recitals on the Aeolian organ 
in the home of Mrs. Henry J. Smith in Morristown, N. J. On Sunday 
evening, May 4, Mr. McCurdy gave a public recital in a series sponsored 
by the Hartford Electric Light Company in The Horace Bushnell Memorial 
Hall, Hartford, Connecticut. This was also broadcast over WTIC. 

On April 30 Edna Phillips, student of Mr. Carlos Salzedo, played for 
the Women's Club of Royersford, Pennsylvania. On May 22 William 
Cameron, Harpist, played for the Choral Club of the Musical Arts Society, 
in Camden, New Jersey, in what is customarily the musical event of 
Camden's season. 

I 213 3 


ij r 


I 214 1 

Glimpses of the Institute 



N impressive addition to the art works displayed throughout the 
buildings of the school has come in the form of a superb bronze 
of Beethoven's head. This very characteristic work of the 
distinguished French sculptor, Emile Antoine Bourdelle, is to be 
found, mounted on an interestingly designed marble pedestal, in an impor- 
tant angle of the Common Room. Somewhat larger than life -size, it 
represents Beethoven in a powerful and turbulent mood, the hair disordered 
and the face tense and somber, while the entire head is poised at an unusual 
and arresting angle. In the base Bourdelle has inscribed a motto— 

Mon domainc cest Voir 
qudnd Ic vent se leve 
mon ame tourbillonne — Beethoven 

The pedestal is of "verte antique" marble and its slightly modernistic lines 
harmoniously support and continue the contours of the bronze. A smaller 
example of the same work is in this country, in Los Angeles, in the home of 
Mr. William Andrews Clark, Jr., a patron of the Philharmonic Orchestra 
of Los Angeles. It is interesting to compare this with a somewhat different 
portrayal of Beethoven, also by Bourdelle, owned by the French Govern- 
ment and to be seen in the Musee de Luxembourg in Paris. This bears a 
second inscription — 

Moi je suis Bacchus 

qui pressure 

pour les hommes 

le nectar delicieux — Beethoven 

Bourdelle (1861-1929) learnt drawing from a pupil of Ingres, studied 
both sculpture and painting at the Beaux Arts in Toulouse, was in Paris a 
pupil of Falguiere, and finally became the favorite pupil, and afterwards the 
most intimate friend, of Rodin. During the last twenty years of his life, 
Bourdelle worked alone to express in sculpture an art that was both human 
and tortured. He appreciated the significant fact that beauty cannot be 
produced except through suffering: that the more a man suffers, the more 
he grows as a whole. This in part explains his interest in Beethoven as a 

1215 11 

Index to Volume I 


A Note on Format, 58 
Academic Department, 132 
Activities, Faculty 

Casimir Hall Concerts: 

Bailly, Louis (and Lea Luboshutz), 38 

Connell, Horatio, 130 

De Gogorza, Emilio, 186 

Farnam, Lynnwood, 78 

Hofmann, Josef, 185 

Luboshutz, Lea, 78 

Salmond, Felix (and Harry Kaufman), 

Salzedo, Carlos (and Felix Salmond, 

William Kincaid), 203 
Torello, Anton, 185 
Van Emden, Harriet, 78 
Vengerova, Isabelle (and Lea Luboshutz, 

Felix Salmond), 103 
Zimbalist, Efrem (and Harry Kaufman), 

Outside of the Institute, 5 (xv), 4L43, 78, 

79, 103, 104, 130132, 156, 157, 186, 

Activities, Student 

Casimir Hall Concerts: 
Bassoon, 207 
Chamber Music, 39, 76, 100, 150, 179, 

180, 206, 207 
Clarinet, 207 
Composition, 205 
Double Bass, 204 
Flute, 204 
Harp, 179 

Harp Ensemble, 150 
Horn, 204 
Organ, 39, 208 
Piano, 76, 207, 208 
Viola, 100, 208 

Violin, 76, 100, 179, 204, 206, 207 
Violoncello, 180 
Voice, 205, 206 
Wind Ensemble, 126 
Chamber Music, 9 (xxviii), 45, 77, 102, 

127, 153, 182, 211 
Concert Course, 45, 77, 101, 128, 154, 182, 


Opera, 4 (xxi), 15, 44, 46, 76, 77, 87, 101, 

126, 151, 180, 208 
Orchestra, 77, 87, 88, 101, 127, 151, 153, 

181, 209 
Other Events, 9 (xxviii), 46, 47, 77, 102, 

129, 154, 183, 212 
Radio, 48, 80, 105, 132, 158, 187, 211 
Auer, Leopold: Professor Auer Responds, 18 

Bailly, Louis: Chamber .Music in the Museum, 

4 (ix) 
Beck, Jean B. : Rare Books in the Library, 

93 99, 119-125 
BoL Edward W. : America's Taj Mahal, 63 
Bok, Mary Louise Curtis: The Institute in 

Retrospect , 2 (v) 

Carlton, W. N. C : Creating the Institute 

Library, 10 (xxxiii) 
Casimir Hall Concerts, see Activities , Faculty 

and Student 
Cato, Robert: My First Acquaintance with 

Campanology, 174 
Chamber Music, see Activities, Student 
Chasins, Abram : The Piano as a Medium of 

Expression, 201 
Curtis Concert Course, see Activities, Student 

De Gogorza, Emilio: A Singer Speaks, 72 
Demarest, Charles: The Curtis Orchestra Six 
Years Old, 144 

Editorial Comment, 1 (iii), 15, 61, 87, 139, 

"Elbee": Annotations of a Stradivarius 

Hunter, 25 

Farnam, Lynnwood : How the Organ Chose a 
Disciple, 167 

Fonaroff, Vera : What Music Means to Musi- 
cians ,117 

Glimpses of the Institute: 

Bourdelle's Beethoven — Mon domaine cest 

I' air, 215 
Casimir Hall, 83 
The Common Room, 51 
The Dining-Room, 109 
The Library, 159 
Stringed Instruments and Theory Building: 

Entrance Hall, 189 
Stringed Instruments and Theory Building : 

Reception Room, 135 

*(Note : Roman numerals in parentheses refer to page numbers in ''Second Edition' of Vol. I — No. i) 

I 216! 


Hofmann, Josef: 

A Survey of the Past Year, 2 (vii) 
An Open Letter, 17 
Commemorating a Qreat Master, 71 
Edivard W. Bok, 113 

Lambert, Alexander: A Pianist Analyzes His 

Choice, 21 
The Library, 49, 81, 93, (see also Notes on 

New Books) 
Luboshutz, Lea, Of Artists and Instruments, 


McCurdy, Jr., Alexander, Off for Florida — 

and Campanology, 171 
Mlynarski, Emil, Notes on the Evolution of a 

Conductor, 141 
Museum Concerts, 45, 102, 127, 153, 182, 211 
Music Calendar, 12 (xxxx), 56, 84, 110, 136, 

162, 190 

New Appointments, 104 

New Members of the Faculty 5 (xiii) 

Notes on New Books, 11 (xxxvii), 52 (see 
The Library) 

Opera, see Activities, Student 
Orchestra, see Activities, Student 

Phonograph Records, 10 (xxxvi) 
Piano Recordings, 106 

Radio, 48, 80, 105, 132, 158, 187, 211 

Salzedo, Carlos: The Harp — Medium of the 

Modern Age, 198 
Sapcrton, David: The Piano and Its Advan- 
tages, 74 
Scmbrich, Marcella: Determining a Career, 89 
Something New Under the Sun, 170 
Student Qroups Who Worked as They Vaca- 
tioned, 6 (xviii) 

Vengerova, Isabella: The Piano As It Seems to 
Me, 114 


Antiphonary No. 1, 94 
Antiphonary No. 2, 98 
Aron, Pietro: Toscanello, 124 
Auer, Leopold, 86 
Bailly, Louis, 138 

Bailly, Louis, and Students in Final Concert 
in Pennsylvania Museum of Art, 210 

Bok, Edward W., 112 

Bok, Mary Louise Curtis, 14 

Bourdelle's Beethoven, 214 

Brccs, Anton, with students, 173, 176 

Casimir Hall, 82 

Common Room, 50 

Council, Horatio, and Lake Chautauqua 

Group, 7 (xxii) 
Curtis Orchestra, 148, 149 
Curtis Orchestra Soloists, 152 

Dining Room, 10S 

Farnam, Lynnwood, 166 

Goffnllcr Violin, 32 
Guadagnini Violin, 34 
Guarncrius Violin, 32 

Hofmann, Josef, 3 (ii) 

Hofmann, Josef, and Camden Piano Group, 6 

Ilcborgh, Adam: Book, of Organ Preludes, 120 

Kaufman, Harry, with his New London 
Group, 7 (xxiv) 

Library Reading Room, 160 
Luboshutz, Lea, and Students in California, 7 

Mlynarski, Emil, 5 (x.ii) 

Mountain Lake Singing Tower, 62, 171 

Rogcri Violin, 34 

Salzedo, Carlos, 194 

Salzedo, Carlos, and His Summer Students, 8 

Scalcro, Rosario, in Italy with His Pupils, 8 

Scmbrich, Marcella, 60 
Scmbrich, Marcella, Surrounded by Her Curtis 

Pupils, 6 (xviii) 
Stradivarius Violin, 24 

Strasscr, William: Sketches, 17, 20, 23, 73 
Stringed Instruments and Theory Building: 
Entrance Hall, 188 
P^cccption Ppom, 134 
Swastika Quartet, 9 (xxix) 

Van Emdcn, Harriet, and Students in New 
London, 7 (xxi) 

Zimbalist, Efrem, and His New London 
Students (xx) 

I 217 1 


! Bookbmdirvg 

Grantville. P^ 
! JAN-JUNE 2001